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Plain People 



A Rural Play in Four Acts 



By 
DANA J. STEVENS 

Juthor of ''Old Acre Folks," ''The Scnudust ^een;' 
"Miss Drusilda's Ene?ny" etc. 



NOTE 

Tlie professional rights in this play are strictly reserved and application 
for the right to produce it should be made to the author in care of the 
publishers. Amateurs may produce it without payment of royalty on 
condition that the name of the author appears on all programmes and ad- 
vertising issued in connection with such performances. 



BOSTON 

WALTER H. BAKER & CO. 
1910 



Plain People 



THE DIRECTORY 

Ezra Bromley, storekeeper. 

Almira Bromley, hoi/seivife. 

Martin Jasper Bromley, college man. 

Liza Liz Hankins, brai. 

Judge Jotham Marley, Christian. 

Melissy VVatkins, elderly maiden. 

Jonas Jarrock, farmer. 

Belindy Jarrock, seamstress, 

Hiram Curtis Peck, seller. 

April Blossom, help. 

SYNOPSIS 

Act L — Sitting-room behind Ezra Bromley's store. Morning. 

Act II. — The same. Some days later. 

Act in. — At the Jarrocks'. Some weeks later. 

Act IV. — At the Bromleys'. Later in the evening. 




Copyright, i 910, by DANA J. STEVENS 

All rights reserved 

^CI.D 22498 



Plain People 



ACT I 

SCENE. — Sitting-room behind Ezra Bromley's store. After- 
noon. A pleasant, square, old-fashioned roofn about ivhich 
everything is very quaint. Four doors in all open into it. 
In the right wall, R. i E., a door opens into the room from 
the store. This door has a bell that rings every time it is 
opened by characters coming in and going out. Beside 
the door atid up stage is a large window which looks 
into the store and is covered with a curtain, which, whe?i 
pulled aside, gives a view of a portion of the store. In the 
centre wall at C. a door opens into the room frofn the road 
outside. To the right of this door is a window giving a 
country view. In the left wall are tivo doors. L. i E., 
opens into an entry. L. 2 E., opens into a kitchen. Furni- 
ture is very old-fashioned and everything about the rootn is 
^Uoutitry." In the back wall to the left of c. door is a 
low fireplace and mantel. 

{As curtain .goes up a bell rings outside and a voice is 
heard.") 

Voice. Liza Liz ? Liza Liz ? — Go to the door ! 

(An instant, and then the door at L. 2 e. opens and a rather 
untidy little girl stumbles into the room. She is about 
twelve, is dressed in a pinafore, hair done pigtail fashion, 
and her face is streaked tvifh gobs of molasses. She is 
sucking her fingers as if eager to get all the sweet. Be- 
fore she opens the door she ivipes her hands oti her back.") 

Liza Liz Hankins {entering). Gosh. Wonder who that is ? 
{She goes across to the windoiv at back and peeks one side of 

3 



4 PLAIN PEOPLE 

the curtain.') Oh, it's only Miss Watkins. I ain't er-goin' ter 
hurry. 

{She takes her time about going to open the door, but finally 
opens it admitting an eccentric spinster rather extrava- 
gantly dressed atid out of patience with long waiting.') 

Melissv Watkins (entering). Well, it is about time. 

Liza. Come right in. Miss Watkins. Sorry I hed ter keep 
yer waitin' so long. 

Mel. Oh, you needn't make no excuses, I'm used ter it. 
Ain't I ben waitin' fer twenty year fer er man, and I ain't got 
one yet. (Sits.) 

Liza (standing on one foot atid regarding her with awe). 
Gosh. You be patient-like. 

Mel. Oh, but I've hed plenty er offers, and you needn't 
think I ain't, Liza Liz; but — er, well they warn't the right 

kind. (Gets warmed up.) You see, there wuz (She 

suddenly stops abruptly as she sees Liza watching her, breath- 
lessly drinking in every word.) Well, there wuz. 

Liza (disappointed). 'Course there wuz. 

Mel. Where's Almiry Bromley? 

Liza. In the store. 

Mel. Humph ! Thought she hed some one purpose ter 
keep store so she wouldn't hev ter be there all the time? 

Liza. You mean Miss Blossom? 

Mel. (starting and sneering). Miss Blossom ! What airs ! 
Yer'd think she wuz one of tliem millionaires' gals what comes 
down here summers ter show off their good clothes and their 
bad manners. Miss Blossom. Humph ! I call her April. 
What er name ! Well, who else is there? 

Liza (timidly). There's me. 

Mel. (7vith a snort). Good gracious ! kin you keep er 
store? It's er wonder they'd let you handle things. 

Liza. I guess I kin keep store as well as any on 'em. 

Mel. Yes, you kin keep the store ; but the things all seem 
ter walk off. 

Liza (offended). I think you're real mean. Miss Watkins. 

Mel. Well, never mind what you think. You go and tell 
Mis' Bromley I've come ter see her 'bout somethin' particular- 
like. 

Liza (going to door r., sloivly). S'pose I'll hev ter. (At 
door ; aside.) Old cat. \^Exit, 

Mel. (alone). Now let's see what I've come ter say. 



PLAIN PEOPLE 5 

(Thinks an instant.) Yes, I've got it all down in my mem'ry 
— that's the best place ter put things. I ain't never fergot any- 
thin' yet when once it's got there. 

Enter Almira Bromley, r., a sweet, motherly woman. 
Mel. rises and then sits down again. 

Al. Good-morning, Melissy, I'm so glad you ran in. 
You'll hev ter excuse the delay-like; but we are rather short 
of hands in the store this morning. 

Mel. Where's April ? 

Al. Oh, she's there. 

Mel. Who else is there 'sides her ? 

Al, Well, there's father ; but he hed ter go hayin' fer er 
spell, and 

Mel. Oh, yes. I seen him goin' past the house. {Sud- 
denly.) You ain't even asked me ter take my things off. 

Al. (flustered). Yes — do. 

Mel. Well, I can't. I only ran in er minute. (Clears 
her throat and looks hard at Al.) S'pose yer know what I've 
come fer? 

Al. No. 

Mel. (looking at her an instant and then). Well, that 
beats all. Ter think that with all your stock of good sense — 
and you've got er pile, Almiry Bromley — you can't see things 
as others see 'em. 

Al. (alarmed). See what, Melissy ? 

(Mel. rises, exasperated, and goes across to the curtained 
tvindow at R., draws the curtain thus showing the store.) 

Mel. Look thar. 

Al. (looking casually). What is it? 

Mel. What is it? Men, of course. What else should it 
be? (Looks off.) There's Jonas Jarrock, Eben Stallard, 
Jonathan Marks, and my own nephew, Robert Marley, the 
Judge's son; and, my land, ef there ain't Hiram Curtis Peck, 
who's been payin' me attention these twenty year, er-standin' 
with the rest on 'em and er-leanin' over that counter. 

Al. (quietly). Well, what of it, Melissy ? 

Mel. What of it? Who's behind that counter ? 

Al. Why, April, of course. 

Mel. Of course. 

Al. (alarmed). I don't understand you, Melissy. 



6 PLAIN PEOPLE 

Mel. Well, I'll make myself perfectly plain ernough. 
{Clears throat.') I've been asked ter come here 'specially ter 
talk erbout that Blossom gal, and ter ask some 'barrassin' ques- 
tions. Who is she? What is she? Where did she come 
from? That's what I want ter know. 

Al. {embarrassed). Well, Melissy, I'm sorry, but I'd 
rather not talk of April's affairs. 

Mel. 'Cause yer don't know anythin' erbout 'em. You 
took her in er stranger and put her ter work behind your counter 
in your store where she'd come in contact with us respectable 
people. And she er nobody, an outcast mebbe, yer can't tell 
nowadays. And ter think that all the men folks in the 
neighborhood do nuthin' but hang over that counter or around 
that store all day — and all night, too, perhaps. It's disgustin'. 

Al. It's good for trade, Melissy. 

Mel. It's good fer talk and scandal, you mean, Almira 
Bromley. Here we've knowed each other goin' on fifty- two 
year, and I never thought you'd counternance er thing hke 
that. Everybody's talkin' erbout it. Why last night at the 
meetin' of the Village Improvement Society, Mis' Jones, she 
said 

Al. {rising quickly and going across to ivindoiv R. and 
drawing the curtain). I'd rather you'd not tell me what Mrs. 
Jones said, Melissy. I'm sorry that you feel like this, and I 
am disturbed about the others; but there is no harm in it. 
April is a dear, good girl. It's true, p'raps, that we don't 
know much erbout her; but blood'U tell, as the sayin' is. 
She's been with us how goin' on eight months, and we love 
her more than you could think every day. 

Mel. Well, yer needn't think that I'd be taken in as you 
hev, Almiry Bromley. I've just writ er long letter ter the 
Judge 'bout this gal, and the way his son, Robert, is er-runnin' 
'round stark, starin' mad after her. Why all I git at home fer 
breakfast, dinner and supper is this Blossom gal. That ne[)hew 
of mine is head over heels in love with her, and I'm worried 
sick over it, and it's all your fault. You no business takin' 
in er strange gal and puttin' her in everybody's face and eyes, 
just because she's got er pretty face, disgustin' manners and er 
simper. 

Al. {offended). Melissy ! 

Mel. Well, I've hed ter hev it out, and now that I've.hed 
my say, I feel better. I told Mis' Jones, last night, at the 
meetin' of the Village Improvement Society, that I'd call in 



PLAIN PEOPLE 7 

and hev er quiet talk-like, 'cause I thought, after you'd heard 
how general the feelin' wuz, that you might get rid of her. 

Al. Oil, Melissy ! You must speak to Ezra. He was the 
one who took April in. 

Mel. (^rising hastily). Well, I can't now. There's time 
ernough. I'll call ergain. (She crosses to door c. to go out.) 
P'raps you'd better not say anythin' ter Ezra fer er spell. 

(Mel. is about to open the door to go out when it is swung 
open and Ezra enters. He pauses in the doorway, thus 
blocking Mel.'s exit cornpletely. Mel. appears quite ill 
at ease.) 

Ezra {entering). H'loa, Melissy ? Howbeyer? 

Mel. Fair ter middlin'. 

Ezra. Whar'd yer come from ? 

Mel. {uncomfortable). From — from the Judge's. Seen you 
goin' by with the hayin' team this mornin'. 

Ezra. Yas. It's too pesky hot ter do much work, though, 
and besides there's too much ter think of with Martin Jasper 
coniin' home from college this afternoon. 

Mel. {with an eloquent look at the store, R. ; aside). An- 
other man. 

Ezra. I've come back ter get another drink er that ras'bry 
juice April put up, Almiry. 

Al. {going l. 2 e.). I'll get it for you, Ezra. {At the 
door.) Ezra, Melissy — Melissy don't think it looks well fer 
us ter keep April in the store. \_Exit. 

Ezra {turning on M^Eh.). Why not? 

Mel. {uncomfortable). Oh — oh, I ain't the only one. The 
whole neighborhood's begun ter talk and say things. Why, 
last night, at the meetin' of the Village Improvement Society, 
Mis' Jones, she said 

Ezra {going to the mantel, getting his pipe, etc.). Bah. I 
don't care that fer Mis' Jones. If Mis' Jones wants ter say 
somethin', why don't she talk erbout her own gal ? She ain't 
erbove criticizin'. 

Mel. Well, Mis' Larrabbee, she told 

Ezra. Yas, Mrs. Larrabbee, what is she? She's nuthin' 
but er gossip, anyhow. What does she know erbout my store? 
She ain't never been inside ter buy anythin'. If she wants 
things she goes down ter the county seat fer 'em. 

Mel. Well, Mis' Higgins, she said 

Ezra. Well, it must hev been interestin' ter hear her talk. 



8 PLAIN PEOPLE 

Did she tell yer that she owes me er bill fer fifty dollars fer 
groc'ries, and that she's owed fer three year goin' on four, and 
that she can't pay it? No. She didn't tell yer that, Melissy ; 
but she kin go nosin' eround ter Village Improvement Socie- 
ties, Sewin' Circles and such like, talkin' erbout my affairs 
what don't consarn any one else, man, woman or beast. 

Mel. Well, I don't know anythin' erbout that; but I wuz 
s' prised when Mis' Johnson, she up and said 

Ezra. As how she sold me some spiled butter last week 
and then accused me er spilin' it, when she knew 'twas spiled. 
Did she tell yer that, Melissy ? 

Mel. No. (Al. e?Uers L. 2 E. with drink. Mel. flounces 
to door c.) And I don't want ter know it. I ain't er-goin' 
ter stay here, and hev my friends exposed. 

Ezra {as she opens the door). Wal, I'll do it if you'll give 
me the chance. If yer want ter know erbout folks, Melissy, 
jes' keep er store. 

Mel. I see it's no use ter talk ter you, Ezra Bromley, but 
they'll come er time when you'll open your eyes and say 

Ezra. That I know how ter manage my own business. 

Mel. {with a gas f). Almiry, ain't he imperlite? 

Al. {going to Mel., at door c, havifig given Ezra the 
drink). Don't speak any more about it, Melissy. 

Mel. {speaking over Al.'s shoulder to Ezra). You'll find 
out what'll come fer takin' in er strange gal what ain't got no 
recommend ter her character. 

Ezra {who has seated himself by the fireplace, smoking, etc.). 
Wal, her face is her character, and that's erbout all she needs, 
I reckon. 

Mel. But s'pose your son Martin Jasper falls in love with 
her, like the rest er these crazy men ? 

Ezra {after an instafit's smoking, ivhile she zvaits eagerly). 
Wal, I should say, Bless yer, my children. 

Mel, {7vith a gasp). Fer the land's sake, that's ernough 
fer me. {To Al.) I'm goin' this time, Almiry. \_Exit, c. 

Al. {closing the door, and theft turning to Ezra, who is 
smoking quite unconcerned ; upset). I'm sorry you spoke as 
you did to Melissy, Ezra. 

Ezra. I'm not. Did her good. P'raps it may make Mis' 
Larrabbee trade. It may make Mis' Higgins pay that bill. 
Anyhow, I'm satisfied, 

Al. {going to him and placing her arms on his shoulders). 
You always have an eye fer trade, Ezra. 



PLAIN PEOPLE 9 

Ezra. Wal, if I don't, who else has ? (^K?iocks the ashes 
out of his pipe.') How long before that son of ours gits here ? 
Didn't his letter say he'd be here in time fer supper? 

Al. Yes, and the train's due at five somethin' er other. 

Ezra [cir awing on his boots). Then 1 guess as how I'd 
better be goin' erlong, so's ter git down thar in time ter take 
his grip sack. {He gets up and crosses to door r.) 

Al. Oh, Ezra, if you're going through the store, you'd 
better ask April ter come in now. She's been out there all the 
morning and she must be tired. I guess them fellers'll go 
home, too, if she's out er the way. 

Ezra {going out r.). All right, Almiry. [^Exit. 

Al. {alone ; worried). I do hope there ain't goin' ter be 
trouble and feelin's like, fer Melissy did seem terrible strong- 
minded and sot. Well, I ain't er-goin' ter worry over it. 
There's worry ernough with Liza Liz 

{She starts suddenly for door l, 2 e.) 

Enter April Blossom, r., a very pretty, wholesome type of girl, 
imassuming in manner, ?ieatly dressed and about tzvetity 
years of age. 

April {looking in from door r.). Mrs. Bromley? 

Al. {turning; startled). Yes? 

April. Mr. Peck wants to come in. He's teased so hard 
that I haven't the heart to refuse. May I let him ? 

Al. {flustered). What fer? {Recollects herself .) Oh, yes 
— yes, of course. {Goes out L. 2 E. ; aside.) Well, it ain't 
no use, and I can't help it. \_Exit. 

April {speaking off r.). You may come in, Mr. Peck. 

Enter Hiram Peck. He is a tall, lanky, bashful swain of 
about forty years of age, rather sandy complexion and 
typical country, fie reads his lines in a meek but firm 
manner quietly. He appears much smitten with April. 

Hiram. Thankee. 

{He appears embarrassed, and April brings him a chair.) 

April. Sit down here, Mr. Peck. 

Hiram {business). Thankee. 

April. Now what shall I give you to do ? You know you 
would come in, Mr. Peck, and this is my busy day, and I've 
really so much to do that I can't entertain you. 



10 PLAIN PEOPLE 

Hiram {quietly). Needn't do it, April. Needn't do it. 
I'll set 'n' watch yer.- 

April {laughing). Oh, that would never do at all. (Sud- 
denly, as with an idea.) I have it. Can you wind a yarn ? 

Hiram [embarrassed). Wal — the — the fellers — they all say 
I'm tolerable fair at yarnin'. 

April (laughing). Oh, I don't mean telling stories. (^She 
has been up hunting, and comes down with a skein of yarn.) 
1 want you to hold this skein of yarn while I sit here in front 
of you and wind it into a ball. 

(Business. They sit. April ivinds the yarn and HiRAM 
contemplates her for several instants and then.) 

Hiram. You're alius busy, April. 

April. It's so pleasant to have something to do. 

(A pause while they work and then.) 

Hiram. Did yer hear erbout the new job I got lately ? 

April. Oh, how splendid. What is it ? 

Hiram (embarrassed). Wal, it's — sellin' pep'mints. I'm 
agent fer the firm. Seed the advertisement in a Bostin paper, 
and Anna Katherina — thet's my sister ; wal, Anna Katherina 
went down thar and they said they'd give me the chance if I 
wanted it. They sent up some samples, and I'm er-tryin' ter 
git orders. (Quietly.) Hev er pep'mint ? 

April. No, thank you. I never eat them. 

Hiram (surprised). Sho ! 

April (laughing). Yes. 

Hiram. Then yer don't know how good they be. 

April. They must be if you have them. 

Hiram. All the reason why yer ought ter try 'em, then. 

April (quietly). But I don't need one. 

Hiram. 'Tain't no use waitin' till yer need one. Pep'mints 
alius comes in handy. Good fer the digestion, good ft-r er 
cold, good fer rheumatics and the sour feelin's. (Quietly.) 
Yer better try one? 

April. Guess not to-day. (A pause and then.) 

Hiram. Mebbe yer will ter-morrer? 

April. Perhaps. (A pause and then.) 

Hiram. Better try one ter-day. 

April. I'd rather not, Mr. Peck. 

Hiram. Wal, yer may fergit it when ter-morrer comes. 



PLAIN PEOPLE II 

April. Oh, no, I shan't. (^A pause and then.) 
Hiram. But I might fergit it if you don't. 

(Att instant and then April bursts oict laughing.') 

April. Oh, Mr. Peck, you are bound to give me a pep- 
permint. 

Hiram. Wal, thar ain't been such good ones eround these 
parts fer er pesky long spell, and I want yer ter taste er them 
wiiile they last. Hev one, April ? 

April. I can't refuse you, Mr. Peck. 

Hiram (^quietly putting his hand into his pocket and pro- 
ducing a box from ivhich April takes a peppermint). Tliankee. 
{As she passes the box back.) Better take the box. 

April. Oh, I don't care for but one, Mr. Peck. 

Hiram. Better take the whole box. 

April. But I don't need a whole box. 

Hiram. Yer kin give ervvay what yer don't need. 

April. How much are they ? 

Hiram. Ten cents. It's reasonable, April. It's reasonable. 

April. I'll take them and pay you some other time. 

Hiram {quietly). Thankee. {There is a pause as they 
wind, and then Hiram says, embarrassed.) Whar'd yer git 
yer name, April ? 

April. Don't you like it? 

Hiram {quickly). Yas, I do; but ain't it kind er queer? 

April {quietly). It was the month I was born in. 

Hiram. Sho. Yer wuz er shower, warn't yer? 

April {quietly). Yes. Mother didn't want to name me for 
anybody — {sadly) there was no one to name me for — and then 
she didn't want my name like that of any one else, so she called 
me — April. 

Hiram {quietly). Hez er pretty sound. Hez er pretty 
sound. {Another pause and then.) Sav, April, I know what 
it is thet makes us fellers hang eround you — at er respectable 
distance. 

April {laughing). What is it, Mr. Peck? 

Hiram {embarrassed ; quietly). Wal — wal, you never say 
the things thet er feller would expect er gal ter talk erbout. 
Now, there's Melissy and my sister, Anna Katherina. They're 
alius er-talkin' 'bout some one er somethin' er other what some- 
body's got that's er little bit better than what they has. But 
you don't seem ter bother 'bout nobody. 



12 PLAIN PEOPLE 

April (embarrassed). Oh, Mr. Peck, you're tangling up 
my yarn. 

(She leans forward to adjust the tangle, and so does Hiram, 
and at this instant door c. swings open, and Mel. 
stands on the threshold. She discovers the pair and ex- 
claims sharply.) 

Mel. Hiram Curtis Peck ! 

(Hiram and April both rise. Hiram is very much confused 
at being discovered by Mel., and stands shifting about first 
on one foot and then the other, while AprIl quietly untan- 
gles the yarn, taking in the scene quietly and amused. Mel. 
stands glaring at first one and then the other, and then 
she comes down between them.) 

Hiram {uneasily). 'Twas only yarn, Melissy. 

Mel. H'm. I'll believe that, Hiram Curtis Peck. 

Hiram {quietly). Thet's all 'twas. 

Mel. I notice you ain't 'tall anxious to hold my yarn. 

Hiram {quietly). Yer never asked me, Melissy. Yer never 
asked me — did yer? 

Mel. No. {A pause while Mel. stands with her arms 
folded glaring straight ahead of her. Hiram shuffles uneasily, 
glances at her timidly out of the corner of his eye, and then 
suddenly dives his hand into his pocket. Mel., sharply.) 
What you goin' fer? 

Hiram {quietly). Pep'mint. 

Mel. H'm. 

Hiram {timidly). Hev — hev er pep'mint, Melissy? 

Mel. No. {A pause a7id then.) 

Hiram {quietly). Yer — yer better? 

Mel. {sharply). I alius know when I've hed ernough, 
Hiram Curtis Peck. 

Hiram {quietly). Do yer? 

Mel. (exasperated). Yes. 

Hiram (quietly). So do I, Melissy. 

Mel. (firing up). Your sister says 

Hiram (quietly and soothingly). Anna Katherina says a 
great deal, Melissy. Talks all the time, Anna Katherina does. 
'Tain't much use ter set er great sight on what Anna Katherina 
says. 



PLAIN PEOPLE 13 

Mel. That don't hev nuthin' ter do with sellin' pep'mints, 
Hiram Curtis Peck. 

Hiram (^quietly, after a pause). No Better take er 

pep' mint, Melissy. 

Mel. {turning on him). Hiram Curtis Peck, if you ain't 
the most exasperatin' critter I ever see. 

April. Oh, don't scold him, please ; it wag all my fault. 

Mel. (turning on Afril). I didn't ask you fer an opinion. 
I asked Hiram Curtis Peck fer 

Hiram (quietly holding out a peppermint). Pep'mint, 
Melissy ? (Mel. turns in desperation and sees the pepper- 
mint ; S7iatches it. Hiram, quietly.) There. Now — eat it. 
(Mel. puts it in her mouth and grits her teeth hard to control 
her anger, and sxvallows it ivith difficulty. Hiram, quietly, 
as she swallows. ) There. 

Mel. {turning on him). Now, be you satisfied ? 

Hiram {quietly). Like it, Melissy? 

Mel. Be you satisfied ? 

Hiram {quietly). Like it, Melissy ? 

Mel. {snappishly). Yes. 

Hiram {quietly and soothingly). I be satisfied. 

(JFIe turns and goes to door c, back.) 

Mel. Where are you goin', Hiram Curtis Peck? 

Hiram {opening the door ; quietly). Hum, Melissy. You 
and me Goin' 'long ? (Mel. stands an instant unde- 
cided whether to stay and pitch into April, or whether to go 
with Hiram. She decides to go with Hiram. Hiram, as she 
tur7is to go up, quietly and soothingly.) Knew you'd go, 
Melissy. Knew you'd go. 

Mel. {at the door). I alius said you never knew when 
ter go. 

Hiram {quietly). You wuz there, Melissy. You wuz there. 

Mel. {going out ; gushingly). Hiram Curtis Peck. 

(Hiram gives April an eloquent look and goes out after her, 
a?td both exeunt. April sits dotvti and bursts into peals 
of laughter, and Ki.. enters l. 2 e.) 

Al. {worried). What's happened, April ? 
April. A little tiff between Hiram and Melissy, and I am 
afraid that I was the cause of it. 



14 PLAIN PEOPLE 

Al. {distressed'). I knew 'twould come, and Melissy, too? 
Oh, I'm all upset. I had no business to have left you two 
alone tergether. 

April {getting up ; surprised). Mrs. Bromley? 

Al. {recovering herself). Fergive me, dear, but I'm so 
worried. It's nigh time fer the men folks ter come, and Liza 
Liz ain't here ter lay the cloth. 

April {gathering up her work, etc.). I'll do it. I should 
have offered before, but you wanted to do everything in your 
son's honor. 

Al. I know I did, dear. I am glad you're going ter hev er 
chance ter meet my son. We're very proud of him. He's er 
college man. 

April {going to door l. 2 E.). Indeed? 

Al. Yes. Father wuz bound he'd hev the best eddication 
thet he could afford, and there warn't no place good ernough 
fer him. 

April {casually). What college did you send him to? 

Al. Sparhawk Hall. 

April {with a start, dropping her work — up). Strange ! 

Al. No — no, 'tain't. You don't mean ter tell me that you 
ain't never heard er Sparhawk Hall? 

April {picking up the ivork and controlling herself). No 
— no — not that. I meant that I hadn't heard that your son 
was at college before. 

Al. We ain't great talkers here, April. Pa don't say much. 
He believes in listenin'. {Goes to her.) We wanted ter 
s'prise yer, April. 

April {dazed). Sparhawk Hall — Bromley — oh, if it should 
be ? — If he is the same ? No, it is impossible — and yet — yet 

Al. {coming to her and putting her arms about her). We 
wanted ter s'prise yer, April. 

April {recovering herself, with a nervous, hysterical little 
laugh). Yes — yes — you did. {Helplessly.) I don't know 
what to do. 

Al. {laughingly). Don't run away. 

April {breaking away from Al. ; aside). Run away ? 
Can she know? {Aloud, regaining her composure.) Sha'n't I 
be in the way, Mrs. Bromley ? 

Al. Fer the land's sake, you tell that ter Ezra and git his 
answer. {Crosses to L. 2 E.) I'm going to lay the cloth. 
{Aside ; going out.) I do wish Melissy hadn't upset things by 
comin' in here an' tattlin'-like an' gettin' me ter thinkin'. 



PLAIN PEOPLE 15 

I feel as if there wuz somethia' disagreeable in the air. I 
really do. \_Exit. 

April (alotie ; knock on door c. ; startled^. I wonder 
who that is? I — I don't dare open the door." If it should be 
he? Oh, how foolish of me to suspect such a thing. True — 
the names are similar; but it cannot be possible that he and 
Jasper are the same. {She laughs.') How — how absurd of 
me ! (She goes to door c, opens it and discovers Jonas Jar- 
rock.) Oh, it's you, Jonas. Won't you come in ? 

Enter Jonas atakivardly ; he is a tail, pleasant-faced, good- 
natured country man about thirty. He is much smitten 
with April. 

Jonas. I can't stop fer long, 'cause Belindy's waitin' down 
the road er piece. You see thar's goin' ter be er singin' 
meetin' at the Methodist Meetin' House ter-night, and Belindy 
thought — no, 'twas me thought — no, 'twas both of us thought 
as how you'd like ter go along with us. 

(^He ivatches her eagerly.) 

April. Oh, but it's too early. 

Jonas. Oh, I don't know. Anyway Belindy and me's 
goin' long so's we kin git good places. 

April. But we haven't had supper yet. 

Jonas. Wal, yer be behind time. 

April. We are waiting for Mr. Bromley's son who's com- 
ing from college. Mr. Bromley has gone to the station to 
meet him. 

Jonas {regarding her earnestly). Yas, I've heerd tell tliet 
Bromley wuz er-comin' home soon. I guess you won't want 
er go then ? 

April. No, I'd better not. It wouldn't be best now, 
Jonas. 

Jonas {awkwardly). It's too bad. Belindy will be so dis- 
appointed. We counted on hevin' you set with us same's you 
did last time. We heerd as how Eben Stallard wuz comin' ter 
ask yer, and we thought we'd start early so as ter git ahead of 
Eben. Yer — yer ain't er-goin' with Eben, April ? 

April. No. I'd rather go with you and Belindy, Jonas. 
You won't be disappointed as long as I'm not going with Eben, 
Jonas ? 

Jonas {moodily). No-o. 



l6 PLAIN PEOPLE 

{Door c. opens and Belindy Jarrock enters flushed and 
excited. Bel. is a tall, pretty girl, neatly dressed.) 

Bel. Excuse me for coming in without knockin' ; but 
Jasper's come. 

April (with a little cry ; startled). Jasper? 

(Jonas notices her agitation, which she tries to conceal ; 
while Bel. rattles along uficonscious.) 

Bel. Yes, and he looks so fine — a regular swell ; and Mr. 
Bromley's with him. They're out in the barn now. You're 
goin' with us, April ? 

April {who has suddenly made up her mind). No, but I'll 
walk down the road with you and Jonas. Let's go. 

Jonas {opening door c). Come, April. 

(April gives a little hysterical laugh and they all go out. 
An instant after they exit door L. 2 E. opens and Ezra 
enters. He seems a bit disappointed at seeitig the room 
empty but turns and speaks off l. 2 e.) 

Ezra {speaking off ). Come right in, Jasper. 

{A tall, good-looking young fellow of about twenty-one enters 
L. 2 E. He is bright, manly and very businesslike.) 

Martin Jasper Bromley {entering and lookifig about him). 
And here is the same old room. Yes, everything looks just as 
it did when I left last summer. There's your corner where you 
smoke, dad, and there's mother's old rocker. I wonder if it 
will ever wear out. Oh, it seems as if I had been gone years 
instead of months. 

Ezra. Sho ! What's struck yer? Don't yer like it? 

Jasper {quickly). Yes, it's all right enough ; but somehow 
when I went back there this fall things weren't the same. 

Ezra {regarding him quizzically). VVal, I 'spect things 
does change rapid at college. 

Jasper {recovering himself). But come, let's not talk of 
that any longer. What's been going on here? Who's dead? 
Who's married? Who's been born? And what have you on 
the place that is new since I've been gone? 

Ezra {going to windoiv up r. and looking out casually 
from time to time during scene so as not to attract Jasper's 
attention). Wal. P'raps I kin answer the last question first. 



PLAIN PEOPLE 



17 



Jasper. What additions have you made? 
Ezra. Wal — wal, we've got one addition that's er corker. 
Jasper. What is it, a new cider-press? 
Ezra. No. 

Jasper. I'll bet it's a new haying machine? 
Ezra. Guess again. 

Jasper. Well, let's say a horse. You needed one badly 
before 1 went away. 

Ezra. No, thet ain't it. Guess again. 
Jasper. Some Jerseys, perhaps ? 
Ezra. No. Yer goin' the wrong way. 

(An instant while Jasper thinks atid Ezra watches him 
eagerly.') 

Jasper. I'll bet it's a hired man ? 

Ezra. Yer gittin' warm. Yer gittin' warm. 

Jasper. Well, I'll have to grow cold again, for I can't 
stretch my imagination any further. 

Ezra. And you er -college man. 

Jasper. What is it? 

Ezra (glancing out of the window). It's coming. (Goes 
to doori.. 2 e.) You stay right here, and don't move while I 
git — out. 

Jasper (following him across to door l.). Get out ? What 
do you mean, father ? 

Ezra (going out). Stay and see. \Exit. 

(Door c. opens and April enters. She discovers Jasper as 
he turns and discovers her. An instant in which they 
gaze at each other in amazement and consternation and 
then.) 

April. You ? 

Jasper (spritiging forward and embracing her). April? 
It isn't you? It isn't you, dear? 

April (struggling to escape). Let me go, Jasper ! Let me 
go ! — Oh, don't, dear. Don't. 

Jasper. No, I won't let you go, dear. Oh, you don't know 
what all this past year has been to me. I've been groping in 
the dark trying to find my sunlight. 

April. You mustn't talk any more like that, and you must 
let me go — please? Please. 

Jasper. Oh ! But I love you, April, and you know it. 



l8 PLAIN PEOPLE 

VVlien I went back to college this term and found you gone I 
was almost crazy. I couldn't believe it. It didn't seem true. 
Why did you go away ? Why? 

April. I — I got a better place. 

Jasper. I don't believe it. 

April. Well, it wasn't right for me to stay, Jasper. 

Jasper. Why ? 

April. I — I can't tell you. 

Jasper. I can. You left because you had stolen my heart, 
and you knew that I loved you and that you loved me, wasn't 
that it? Wasn't that it? 

April (^quietly). I don't dare to say. 

Jasper. 1 knew it. I felt it. Oh, April, why — why didn't 
you leave me some word ? Oh, if you'd only known how I've 
passed the winter! But I've found you and on my father's 
place. What are you doing here ? 

April. I — I'm in the store. 

Jasper. You — in the store ? 

April. Yes. I had to do it, Jasper. I had to get some- 
thing to do in order to live. I lost my school, and my friends 
all went, too, and — and I was all alone. 

Jasper. Why didn't you send for me? 

April. I — I couldn't, dear. 

Jasper. You were afraid to? 

April {in a whisper). Yes. 

Jasper. Well, it's all over now. 

April (^frightened). What do you mean ? 

Jasper. I mean that fate has brought you to my home, to 
my people, to be one of us. 

April {startled). Jasper ! 

Jasper. You must. You shall. You never shall leave me 
again. I — I can't bear it, April. I — I can't bear it. 

April. I don't understand. 

Jasper. You love me, April ? 

{All instafifs embarrassment and then.') 

April {quietly). I — I — yes. 

Jasper. Tiien marry me ! 

April. Oh, I couldn't do that, Jasper. I couldn't do that. 
Your father and mother- — they scarcely know me — you — you 
scarcely know me. You don't know who I am, Jasper. You 
don't know vyho I am. 



PLAIN PEOPLE 19 

Jasper (taking her in his arms). I know that you are the 
dearest, sweetest girl in the world. When you took care of me 
there at college when I was so ill, how I used to sit for hours 
and just look at you. I loved you from that first day when I 
lay on my cot so ill that I didn't care whether I lived or died, 
and you brought me a world of — sympathy. That was enough 
for me, April. I wanted to live, 1 wanted you, and I want you 
now. I don't care for any one else but you — you — you. 

April. Jasper, you hurt me. You — you never have treated 
me like this before. 

Jasper. No, because I didn't dare to. But I've missed 
you, April, and absence makes the heart grow fonder, as the 
saying is, and I couldn't help it. I felt that it was my right, 
April. My right. Isn't it ? 

April (after an instant's confusion and looking down), 
Jasper. 

Jasper (overjoyed). I knew it. I knew it. 

(They are standing in each other'' s arms at c. when door 
L. 2 E. opens and Ezra enters and discovers them. Jasper 
a7id April appear greatly confused while Ezra is very 
much astonished.) 

Ezra (to Jasper). I see you've discovered the new addition. 

Jasper. Father, I want to talk to you. 

Ezra (knowingly). H'm. (Z"^ April.) I only just come 
in to tell yer, April, thet thar's er little red box er-\vaitin' fer 
yer at the post-office. 

April (startled). A red box? 

Ezra. Yas. Joe Hemmenway said as how 'twas post- 
marked from Yankton, South Car'liny. 

April (agitated). I — I'll go and get it. (She crosses to 
door c. and opens it and then turns ; to Ezra.) Have I time 
to go to the Corners before supper ? 

Ezra (with a knowing look at Jasper). Lots. 

Jasper (eagerly taking the hint). May — may I go with 
you, April ? 

April (in door c. ; quietly). If you wish. 

(They go out C, leaving Ezra staring after them in amaze- 
ment. ) 

Ezra (finding his voice). Wal, the flies in this'house don't 
lose no time getting stuck on the molasses. 



20 PLAIN PEOPLE 

{He appears uncertain and troubled and Al. enters L. 2 E.) 

Al. What yer thinkin' erbout, Ezra ? 
Ezra {quietly). Wal, I'm makin' up my mind ter say, 
Bless yer, my children. 

{He indicates door c, to which Al. goes and looks off as the 
curtain comes down.') 



ACT II 

SCENE. — The same. Several days later. 
{As the curtain goes up Liza enters l. 2 e., talking off .") 

Liza. I think you're real mean, Belindy Jarrock, just as 
mean as you kin be. I always hed the bowl ter lick, and I 
don't care what yer say, yer might, at least, have give me the 
spoon. {She slams the door and stands sulkily.') Wish the 
folks would come home. It's so stupid settin' twirlin' yer 
fingers, and I'm so hungry I could just eat a hoss. {Knock on 
door c, rather timidly.) Wonder who that is. {Goes to the 
door and throws it open, discovering Jonas standing on the 
threshold.) Oh, it's you, Jonas. Do, fer pity's sake, come in 
and set down. 

Jonas {entering, rather embarrassed ; he carries a large 
bouquet of wildflowers). Thanks. But I don't think I'll set 
down. 

Liza. Well, there ain't nothin' to hurt yer. 

Jonas {embarrassed). I can't stay but er moment. Will 
— will yer tell April I've come fer somethin' particular? 

Liza. Can't. 

Jonas. Why not ? 

Liza. She ain't here ter tell. 

Jonas. Has she gone out ? {Disappointed.) 

Liza. Yep. Her and Jasper and Pa and Ma Bromley hev 
all gone ter ride down ter the Corners. 

Jonas. The Corners ? 

Liza. Yes, and you never could guess what fer. 

Jonas {eagerly). What fer? 

Liza. Ter git married. 

Jonas {overcome). Married ? 

Liza. April and Jasper. The weddin' wuz ter come off at 
'leven o'clock, and they must be on their way back by this 
time. {Notices his agitation.) What is it ? 

Jonas {recovering himself quickly). I — I didn't know tha — 
that April cared for Jasper in that way. 

Liza. Oh, she knew she hed er good thing and she grabbed 
it, like any sensible girl. 

Jonas. They — they were married at the Corners ? 

21 



22 PLAIN PEOPLE 

Liza. Yes, and Parson Jenks pulled 'em through. {There 
is a silence ivhile Jonas stands fingering his bouquet, at a loss 
quite 7vhat to do.) Do set down, Jonas, and stay er while. 
Belindy's here, and they'll be back soon. 

Jonas (sadly). No, thanks, Liza. {Goes up.) I — I only 
ran in ter see Miss Blossom, but now she's Mrs. Bromley, thar 
ain't nuthin' fer me ter do but clar out. {Opens the door 
to go.) I'll come in when they come back. 

Liza. Do. It'll be such er relief from spoonin', I s'pose. 
This kissin' ferever makes me sick. 

Jonas {zijho has been tvondering what to do with the bouquet, 
coming doiuii). I — I don't s'pose you'd like er bouquet, would 
yer, Liza Liz ? 

Liza {quite overcome). Fer me? Really fer me? Oh, 
Jonas, I ain't never hed er bouquet give me before in my life 
by er feller. Oh, I'm so pleased. 

Jonas {sadly giving her the flowers). It's yours — Liza. 

{He turns and goes out c. After an instant, during which 
the astonished Liza looks after him and then at the bou- 
quet, she says, emphatically.) 

Liza. Well, there's one thing sure, and that is I've hed my 
eye on the wrong feller all the time. 

{She appears tickled to death ivith the bouquet, and going to 
table sits down and arranges the flowers, smells of them, 
etc. ; Bel. enters L. 2 e.) 

Bel. {entering with a dust-pan and broom). Liza Liz? 

Liza. Go 'way; I'm busy. 

Bel. Now, come, be a nice girl and behave. 

Liza. I won't ; you're stingy. 

Bel. Oh, what pretty flowers. 

Liza. They're mine, and you ain't er-goin' ter have er 
smell. 

Bel. I don't want to, dear, if you feel that way. I'm sorry 
we can't get along well together; but you must mind what I 
say. Now, dear, there is some time yet. before the folks come 
back, and I've got so much to do, and this room does look 
awfully dusty. Come, be a good girl, and clean up nice. 

Liza. Sha'n't. 

Bel. Please. 

Liza. Won't. 



PLAIN PEOPLE 23 

Bel. {dropping the broom and going out and closing door l. ) , 
Well, don't, then. 

Liza (alone). Gee, but she's mad. {She hums to herself 
and arranges the flowers an instant or two and then a knock 
at door c.) More lovers ! {Goes tip to ivindow R., back, and 
peeps out.) It's that Mis' VVatkins. That old gossip can't 
keep out er here fer five minutes. Well, she can come in 
when she gits good and ready, I'm goin' ter dust. 

{She goes across and takes the broom and starts in to sweep 
violently, paying ?io attention whatever to the knocking on 
the door. Finally there are several quick knocks on the 
door ; Liza sweeps harder and harder, and Mel. opetis 
door c. and looks into the room, ejicoutitering a cloud of 
dust. Mel. sneezes.) 

Mel. {looking in). Whatever is it ? 

Liza. Dust. 

Mel. {indignant). I guess not. I've come ter call. 

Liza {sweeping). There ain't any one ter home. 

Mel. {entering). Ain't they got back yet ? 

Liza. No. 

(Mel. goes to sit down in a chair, but Liza anticipates her 
and takes the chair and places it up in one corner.) 

Mel. {trying to ignore the incident). I see 'em go past 
Miss Jones's er long time ergo. Land, I never did see such 
style as Almira Bromley put on, and I never thought Ezra 
could look like er real man before. 

(Starts for another chair.) 

Liza. They did look fine, didn't they? 

Mel. Yes. {She is just about to slide into the chair wheti 
Liza takes it away and puts it with the other, and Mel. con- 
trols her temper as best she can while Liza appears quite un- 
conscious of Mel.'s position. Mel., after an instant.) I 
don't see what they went off in such style fer. It's er mystery 
ter me. There wuz Ezra and Almira on the back seat, and 
Jasper and that Blossom gal on the front. 

{An instant and then Liza stops sweeping, and leaning on 
the broom and looking hard at Mel., says.) 



24 PLAIN PEOPLE 

Liza. Ever been in love, Melissy ? 

Mel. {with a gasp of astonishment). What er question ! 
Liza. Well, you've got an awful grudge against April. 

Mel. What do you mean ? 

Liza {stveeping). 'Fraid she'll cut yer out, I do believe. 

Mel. {with a gasp). Why, Liza Liz Hankins ! how you 

do talk. I ain't er-goin' ter listen ter such trash. 

{She makes for door c.) 

Liza. You needn't if you don't want to. 

Mel. {soothingly). I alius thought you hed manners. 

Liza. Fer company. 

Mel. Ain't I company? 

Liza {sarcastically). Sometimes. 

Mel. You impudent little trollop ! If you wuz mine, I'd 
wallop yer good. 

Liza {taking another chair as she starts to sit). Wouldn't 
yer have er grand time doin' it, Miss Watkins ? 

Mel. {overcome). Well, I declare. I declare. I — I must 
sit down. 

Liza {meekly). Try the floor. 

(Mel., exasperated, goes across to the chairs up stage, and 
taking one brings it dozvn, sits in it, folds her arms and 
regards Liza.) 

Mel. I'm just goin' ter tell Almiry Bromley 'bout you, the 
minute she gits back. 

Liza {sweeping). I don't care. 

{After an instant, during which Mel. watches Liza ; then 
thinking better of it, she says sweetly.) 

Mel. Liza, what hev they gone fer ? 

Liza {in the same tone of voice). What'll yer give me if I 
tell yer? 

Mel. a piece of choc'late cake. 

Liza {eagerly). Kin I hev as big er piece as I want? 

Mel. Yes. 

Liza. Well, April and Jasper's gone ter git married. 

{A pause, during which Mel. stares at her speechless with 
consternation, and then.) 

Mel. Married? Jasper and that gal? He's goin' ter 



PLAIN PEOPLE 25 

really marry her, and after all I've said. Oh, Liza Liz, this is 
too much. This is too much. I'm all upset. 

Liza {alarmed). Gosh ! I should say yer vvuz. 

Mel. Ezra Bromley must be crazy ter do such er thing — 
ter counternance it. 1 told the Judge this mornin' he ought ter 
come down here the first thing and see Ezra Bromley before 
it's too late. {Gets tip and makes for door c.) But it's not 
too late now, and I'm er-goin' right straight home and bring 
Judge Marley down here. He knows erbout this gal. {Going 
out.) Oh, I never shall fergive myself. I shall never fergive 
myself. \_Exit. 

(Liza stares after her an instant and then.) 

Liza. I wonder what's up? There's goin* ter be some kind 
of er squall, and I guess I better get the room ready ter 

squall in. 

{Places the chairs back and adjusts the room generally.) 
Enter Bel., l. 2 e., in much excitement. 

Bel. They've got back, Liza. They've just come into the 
yard. Oh, how nice the room looks. 

Liza. I did it, Belindy. 

Bel. I'm glad you changed your mind, Liza. 

Liza {going out l. 2 e., with the broom, etc.). No, Miss 
Watkins did it. \_Exit. 

{Door c. opens and Al. enters, followed by 'Ezrx, They 
are a bit hysterical.) 

Al. Oh, Belindy, it was lovely. Oh, you can't imagine. 
And Parson Jenks did speak so fine. 

Ezra. Yes, the folks of this village don't know what er fine 
speaker he is. {Sits down to take off his shoes.) I'm goin' 
ter petition the next meetin' ter give him more wages. 

Bel. Where — where's April ? 

Al. {quickly). Mrs. Jasper Bromley ? Oh, she stayed with 
Jasper. 

Ezra. Thar unhitchin', Belindy. Startin' in ter git used 
ter housekeepin' the right way. The fust thing Almiry and me 
did when we got back from bein' married wuz ter unhitch the 
hoss. 

Al. {laughitig). Can you remember that ? {She crosses to 



26 PLAIN PEOPLE 

bureau and proceeds to put away bonnet, cloak, etc.') The 
next thing we did vvuz eat. How is things, BeHndy? 

Bel. {who is up looking sadly out of windoiv r. c, unob- 
served by Al. or Ezra, who are both a bit excited'). Doing 
well. 

Ezra. It's thirty year next month, Almiry. 

Al. It don't seem that long ter me, Ezra. 

Ezra. Nor ter me either. 

Al. Why, I can remember just as plain how you and me 
went. 

Ezra. But we warn't all alone, Almiry. Thar wuz Joshua 
Stebbins fer comp'ny. He — he stood up with me. 

Al. And I hed Nancy Wilkins with me. {She is on her 
knees laying cloak in bottom drawer. Ezra is leaning on 
bureau looking at her. Bel. is up at window, forgotten, look- 
ing out.) Do you remember how I cried, Ezra? I couldn't 
help it. I just couldn't, I wuz so happy. 

Ezra {embarrassed). Gosh ! I don't know what I did. 

Al. 1 do. You blushed. 

Ezra. Say — did I? 

Al. I kin remember it as if 'twuz yesterday. {Closes 
drawer and gets up.) I shall never fergit your face when you 
turned around after we wuz made man and wife. 

Ezra. That's the only time in my life I ever felt foolish, 
Almiry. I didn't know what ter do. 

Al, Well, you did the right thing when you kissed me. 

Ezra {embracing her). Wal, we're seein' it all over ergain 
ter-day, Almiry, you and me, and we're goin' ter hope they'll 
be just as happy as you and me, Almiry. 

Al. {quietly). Yes — Ezra. 

Bel. {at window). Here comes April. 

Al. {crossing to door L. 2 E.). Good land ! I'm fergittin' 
everything. There's them things cookin', Belindy. {Goi?ig 
out.) You better come and help, Ezra. [Exit, L. 2 e. 

Ezra. No, I'm goin' ter git off these shoes fust, Almiry. 
{Crosses to L. i E.) I thought I wuz gettin' er good bargain 
when I beat thet drummer down, but he knew I wuz gettin' 
licked, and I kin feel it. [Exit, L. i e. 

{Loud, merry laughter out c, as Bel. turns from window. 
Door c. is thrown open, and April bursts into the 
room, slams door and leans against it, panting. She sees 
Bel., and with a cry embraces her.) 



PLAIN PEOPLE 27 

April {hysterically). Belindy ! I'm married ! I'm mar- 
ried to Jasper, Belindy. I'm his wife. His wife ! Oh, but I 
don't feel any different, Belindy. I'm just the same girl, but 
I'm so happy. Oh, you don't know how happy I am, Belindy. 

Bel. {quietly). I'm glad you're happy, April. I'm glad. 

April (eagerly). You'll tell Jonas, right away, won't you, 
Belindy? 

Bel. {quietly). Yes, just as soon as I go home. He'll — 
he'll be glad, too. For he'll know that you've got the right 
man, and that ought to make any girl happy. 

April. I feel it, Belindy. I feel it. 

Al. {outside; calling). Belindy, are you coming? 

{The two separate, and Bel. hastens off L. 2 E. As she 
exits, Jasper is heard calling outside.) 

Jasper. April ? I say, April ? Oh, April ? 
April. It's Jasper, Belindy. My husband. 

{She laughs merrily and, struck with an idea, goes to door 
C. , and locks it and stands waiting. An instant and then 
the door is tried, then a knock, then an impatient voice 
outside says.) 

Jasper. I say, April, let me in ? 

April {laughing). Say please? 

Jasper. No, I won't. 

April. Yes? 

Jasper. Sha'n't. 

April. Oh, you mustn't talk that way to Mrs. Jasper Brom- 
ley. Mrs. Jasper Bromley. 

Jasper. Mrs. Jasper Bromley, will you open this door ? 

April {laughing). Say please? 

Jasper {after an instant and then). Please. {\vv.il throit's 
the door open and Jasper runs in laughing, catches April /;/ 
his arms, and they stand c.) My wife. 

Apirl. Yes. 

Jasper. Mine to do just what I wish with. 

April. If 1 choose. 

Jasper. No, you have nothing to say. You're mine. You 
gave yourself to me, the parson gave you to me, and you can't 
take back the gift. 

April. I might try. 

Jasper. I shouldn't let you. 



28 PLAIN PEOPLE 

April. Then I'm your prisoner. 

Jasper. Right here in my arms, and I'm going to hug you 
so tight, and never let you go. 

April. Then I'm very glad, Mr. Jasper Bromley, that lean 
only be married but once. 

Jasper {earnestly). Jasper Bromley. Aren't you sick of 
that name ? 

April. No, I love it. I wonder how it will look in writing ? 
{She goes up to the mantel, takes pefi, ink and paper, and sits 
at table and writes. Jasper leans over her shoulder. April 
writing; aloud.') Mrs. — Jasper — Bromley 

Jasper {quickly taking pen and writing). Mr. — Jasper — 
Bromley • 



April {writing). Mrs. — Martin — Jasper — Bromley 



Jasper {business as before). Mr. — Martin — Jasper — Brom- 
ley 

April {same business). Mrs. Martin Jasper Bromley takes 
great pleasure 

Jasper {quickly taking pen and writing). In being Mrs. 
Martin Jasper Bromley. 

April. Oh, that wasn't what I was going to say at all. 

Jasper. But you do, don't you ? 

April. Yes. 

Jasper {writing). Mr. Martin Jasper Bromley takes great 
pleasure 

April {taking the pen quickly and writing). In having 
Mrs. Martin Jasper Bromley. 

] ASPER {laiighing). Good. {Embraces her.) I do, April, 
dear. We're both together now. We're both for each other. 
We're — we're married. {They stand c.) 

Enter Al., l. 2 E. 

Al. Come — come — come, this will never do for a house- 
wife. There's no time for love-making with two great hungry 
male monsters ter feed. We must set the table. We'll eat in 
here. 

{She goes up and pulls table down stage, gets utensils, etc., 
while the other two Join in. All is bustle and excitement 
through this scene.) 

April. Let me help ? 
Jasper. Let me? 



PLAIN PEOPLE 29 

April. No, this is woman's work, and you're a man. 

Jasper. But I am your husband, and as such I command 
you to allow me to help. 

Al. {laughing). Dear, dear ! I never did see such children. 
Do let him, April. 

April. But he'll break something. 

Jasper. Then you can have an excuse to scold me. 

April. I couldn't do that. 

Al. Oh, it'll come easier by and by. 

{They all laugh. Jasper and April are arranging the 
table-cloth.) 

April. I believe this goes this way. 

Jasper. No, it goes this way. 

April. You don't know anything about setting a table. It 
goes this way. 

Jasper. And you're only learning. It goes this way. 

April. But that's the wrong side up. 

Jasper. What does that have to do with eating? 

April (as Al. comes down with her arms full of china ; 
laughing). Mother 

Jasper. Mother 

Al. {laughing). I ain't er-goin' ter say which way. 'Tain't 
no use ter get mixed up in any argument. All I can say is 

T \ (eagerly). Yes 

Jasper ] ^ '^ -^ -" 

Al. {business). Put the dishes eround. 

( They each take what she holds out and eagerly set the table. 
Door L. 2 e. opens, and Bel. enters.) 

Bel. Everything is ready, Mrs. Bromley. 
Enter Ezra, l. i e. 

Ezra. Well, I've come ter carve. I feel ugly ernough ter 
carve er bear. 

April {laughing). And on my wedding day? 

Ezra. Wal, I don't really mean that, but I could carve that 
drummer if I met him. {Sees table ; disappointed.) What, 
ain't the victuals cooked? 

Al. Yes, you set right down in your place. Where are you 
goin' ter sit, April ? 



3° 



PLAIN PEOPLE 



April {with a shy look at Jasper). Beside Mr. Martin 
Jasper Bromley. 

Jasper. Of course; how could you ask such a question, 
mother ? 

{They sit, and Al. and Bel. go up to door l. 2 e.) 

April {to Al.). Aren't you and Belindy coming, and 
where' s Liza Liz? 

Al. {as they go off). You all set right still and we'll bring 
in the good things. \^Exeunt Al. and Bel. 

Ezra. Wal, don't be long. 

{An instant and then Liza runs in L. 2 E.) 

Liza {going to her place at the table and sitting). Oh, here 
yer are, April ; you're goin' ter get it. 

{An instant ivhile all exchange glances of surprise, and then.) 

April. What do you mean ? 
Liza. Fer marryin' Jasper. 

{They all laugh, and then April says.") 

April (playfully). Oh, you jealous child. 

Liza. It ain't me. It's Melissy Watkins. 

Ezra {s;etting interested). That old grudge, eh ? 

April {surprised). What of Melissy Watkins? 

Liza. Oh, she come here while you wuz gone, and when I 
told her you and Jasper hed gone ter git married, she nearly 
threw er fit all over the place. 

Apirl {startled). Liza Liz, what do you mean? 

Liza. I mean just what I say, and lots more, too. Oh, she 
took on somethin' terrible. She's gone ter tell the Judge, and 
he's comin' here. 

April {thorous^hly alarmed). I — I don't understand you, 
Ijiza. I — I don't understand — Jasper. 

Jasper {u7ieasy). Don't listen to her tattle, April. 

Ezra. What can Judge Marley hev ter say ter me? 

{A loud knock on the door is heard.) 

Liza {after a short pause). Well, he's come ter say it, 
Ezra {quietly; calling). Come in. 



d 



4 



PLAIN PEOPLE 31 

{Door c. opens admitting Judge Marley, a large, handsome 
man, of a rather overbearing and dissipated type. He is 
followed by Mel.) 

Judge (darting an ugly look at April). Good-mornin', 
Ezra. 

Ezra. Good-mornin', Judge; glad ter see yer lookin' so 
well from yer trip. Set down. Set down, Melissy. 

Mel. {quickly^. No, we can't stop. 

{A pause while the Judge clears his throat.') 

Judge. I hear you've been married, Jasper ? 

Jasper. Yes. (^Introduces April, who looks frightefied.) 
My wife, Mrs. Martin Jasper Bromley. 

Judge (coolly). Yer don't say? 

Ezra {sharply). What is it, Judge? What's the trouble? 
Thar's somethin' I don't like the matter? 

Judge {quietly). There is. 

Ezra. What is it? 

(^An awkward pause, and then the Judge whispers to Mel.) 
Judge. I can't tell it before her. 

(Jasper leaps to his feet with a bound. April puts out her 
hand and holds him back with a sharp cry.) 

April. Jasper ! 

Ezra. What do you mean ? 

Judge. I mean just what I say. I've come here with a 
purpose; it concerns her, and I can't speak before her. 

Jasper (finding his voice). Look here, Judge Marley, you 
are speaking of my wife. 

April (frightened). Jasper ! 

Judge. I know whom I'm speaking about. I haven't been 
away for nothing. If I had come here this morning, as Melissy 
wished me to, you never would have been married. 

Jasper. By God ! 

April (Jiy s ter ic ally). What do you mean, and what have I 
done? Who are you to come here and make such insinua- 
tions ? What have I done to you, a stranger, that you should 
talk like this? 

Jasper. April, dear? 

April (well worked up ; hysterically). I want to know. I 
want to know. It's my right. It's my right. 



32 PLAIN PEOPLE 

Ezra. Yas, it's her right, Judge. Yer better speak out. 
Judge. I can't here. 
Ezra. Whar then ? 

Judge. In the other room. {Indicates store, r.) 
Jasper. Never ! 
Judge. I can't before that gal. 

April {thoroughly alarmed, getting uf). I'll — I'll go out, 
Jasper — Mr. Bromley. 

fuDGE. } ^°^ '^^y ^^^^- 

Ezra {to Judge). And you tell. 

{A pause, during which Judge exchanges looks with Mel., 
7vhile the others watch breathlessly.') 

Judge {after an instant). I'll whisper it ter yer, Ezra. 

Jasper {as Ezra gets up quickly). Father? 

Ezra. He won't tell no other way, Jasper. {He crosses to 
Judge, while the others sit intense.) Now, what is it? {An 
instant or two of breathless silence zvhile Judge zvhispers to 
Ezra. April looks frightened at Jasper, who waits with fe- 
verish impatience and i?itense strain, his eyes glued on the two 
men. Mel. is laboring under intense excitefnent. An ifistatit 
and then Ezra starts, changes color, then raises his head and 
looks JvDGE full in the eye for a full instant.) Judge Morley, 
is it 

Judge. Yes. (/// a loud whisper, aside, to Ezra.) She 
never had a father ! 

Jasper {with a sharp cry, springing forivard). Father? 

Ezra {stopping him ivith a gesture and sinking back into his 
seat. A full instant tvhile Ezra stares at Judge ; then, rais- 
ing his arm, points to door c). You — git — out. 

(Judge turns pale, but quietly takes up his hat from the chair 
ifito which he had dropped it, and goes silently out C. April 
rises in terror ; Jasper seems like one dazed. ) 

April {faintly, trying to speak). What — what is — it? 
EzR.'v {turning to Mel., and same business as with Judge). 
And — you — too. 

Mel. {with a gasp). I — I didn't think yer would blame me. 

[Exit quickly, c. 

(Ezra stands with bowed head. Jasper stares at Iiim 
speechless. April has risen and looks from one to the 



1 



% 



PLAIN PEOPLE 33 

other, imploringly, trying to speak. At last Ezra turns and 
goes quickly to door L. i E.) 

Ezra (after a pause, throTving the door open; hoarsely). 
Jasper ? 

Jasper {leaping up as from a shock'). Father? 

Ezra. Come in here. \_Exit, L. i e. 

(Jasper goes quickly out after him and closes the door. 
April gives a little moan, stretches out her arms after 
Jasper, and, as the door closes, she collapses and sinks 
down by the table sobbing hysterically. Liza, who has 
been an interested spectator all through this scene, 7vatches 
her sadly, and, at last, unable to stand it any longer, she 
says.) 

Ltza. Ain't they mean ter take erway er feller's appertite? 
(^The child's speech brings April to her senses ; she leaps tip, 
dashes the tears from her eyes, and stands for an instant at a 
loss fust tvJiat to do ; then she goes straight across to the place 
where she had hung up her things, and puts them on, while 
Liza stares at her in amazement. She then goes to door c, 
and without looking back, opens it and goes out, closing it after 
her. Liza, having recovered herself , gets dowtifrom the chair 
and goes quickly to windoiv R. c, and looks otit. As she goes 

to the window.) I do believe {Looks out, and then runs 

across to door L. 2 E., calling.) Oh, Mis' Bromley ! Mis' 
Bromley ! 



QUICK CURTAIN 



ACT III 

SCENE. — At the Jarrocks', several weeks later. A large 
room more simply furnished than the Bromleys\ In the back 
7vall, and directly c, is a long window with glass doors, 
which opens out onto a veratidah, which cati be seen outside 
at opening. Long, cheap curtains hung at window. In the 
right zuall, down at r. i e., is a fireplace and mantel with a 
large hearth. Fire bur7iing brightly in fireplace. Above 
that, at R. 2 E., a door leading out-of-doors. In the left 
wall are tivo doors ; L. i E. opens iiito a bedroom and i.. 2 E. 
opens into a kitchen. A very few straight backed chairs of 
old fashioned type, one rocker and a small haircloth sofa. 
A small round table a little to L. C. — so as not to obstruct 
view through window at back. 

(As curtain goes up, Bel. e filers L. 2 E., and carries a red 
table-cloth, lahich she proceeds to spread upon table. After 
so doing she crosses to ma?itel and taking down a small 
lamp lights it and crosses to table with it as Jonas enters 
R. u. E.) 

Bel. Is that you, Jonas? 

Jonas. Yas, I'm goin' 'long, Belindy. Want anythin' ? 

Bel, Oh, Jonas, you're the best brother in the world. 

Jonas {coining dozvii). No, I ain't, Belindy, 'cause there's 
lots er fellers every bit as good as rae. 

Bel. Wasn't it you who thought of takin' in — April? 

Jonas {quietly). Wal? 

Bel. (after a pause). I don't know what I should have 
done without her, Jonas. I should have died. I know I 
should. 'Twas April that took care of me during that long 
fever, and brought me back to you. 

Jonas {quietly'). Yes. Yer wuzailin' er longtime, Belindy, 
and April ain't hed much rest. She wuz eround yer, hoverin' 
over yer, constant. And she goin' through er great strain, too. 
Said tendin' ter you would make her fergit. She must be wore 
out. 

Bel. I'm going to take care of her now. 

Jonas. We'll both do it, Belindy. But I reckon April ain't 

34 



PLAIN PEOPLE 35 

one er the kind ter need lookin' after. She settled them Brom- 
leys up pretty quick. Wouldn't even go back thar fer her 
clothes. 

Bel. My white dress makes her look like er real lady, 
Jonas. 

Jonas {quietly). She is er real lady, Belindy. She's true 
blue kind. 

Bel. The Bromleys have been mighty mean to April. 

Jonas. They couldn't help it after what the Judge told 'em. 

Bel. You don't believe his stories, Jonas? 

Jonas. No. He don't hold nothin' er mine. (Suddenly.) 
Whar's April? 

Bel. She's gone down the road a piece to gather some 
goldenrod. (Goes to hiin and takes his hand ; quietly.) It's 
too bad it couldn't have been, Jonas. 

Jonas {quietly, ejubraciiig her). Would you have wanted 
her for a sister after all that's been said about her, Belindy? 

Bel. {hurt). Jonas, you don't think I would believe all 
those lies? Oh, Jonas ! 

Jonas. No, Belindy. It ain't in your natur', and it ain't in 
mine. P'raps after all, Belindy, it's better the way 'tis. 

Bel. {quietly). P'raps 'tis. 

Jonas {quietly). She's too good fer me, anyhow. Er feller 
with half an eye can see that. No, Belindy, if I can't hev 
April, I ain't never goin' ter get married. You and me will 
keep house tergether, always. Won't we? 

Bel. If you say so, Jonas. 

Jonas {quickly, to conceal his emotion). Guess I'd better 
be goin' 'long ter git Hank. {He goes to door -r. 2 e.) I'll 
try and get back in time ter take yer ter meetin'. We ain't 
been fer er spell and I think it would do both you and me 
good. [^Exit. 

Bel. I'll be ready. 

{She crosses and sees him off r. 2 e., then comes down after 
closing the door. Liza is seen outside windozv c, on the 
verafidah. She knocks on the ivindotv and, as Bel. turns, 
she opens it and comes into the room. She is dressed in 
the most gorgeous combinations of colors imaginable, and 
ivears a remarkable hat of several different shades, but 
withal she is a fnost pathetic figure.) 

Liza {openijig the zvindow). Ben watchin' yer and makin' 
up my mind ter come in. 



^6 PLAIN PEOPLE 

Bel. (as Liza stands awkwardly in the window^. Come 
right in and sit down, Liza. 

Liza {^quickly entering and sittiiig, relieved'). Gee! Ain't 
I glad I'm in. 

Bel. {taking some work and seating herself by tlie table 
wJiicIi Jias been pusiied up back L.). Where have you been all 
this time? 

Liza. Livin'. Didn't think you'd care ter hev me come, 
eround, and I stayed erway till I couldn't stand it any longer, 
and besides, the Bromleys wanted me ter come. 

Bel. The Bromleys ? 

Liza. Yes. They've hed er letter from Martin Jasper, and 
they wanted me ter come eround here and see how the land 
lay. I promised 'em I wouldn't tell. (A pause and tJien.') 
We heard through Melissy and her crowd that you've been sick, 
and that April wuz takin' care of yer. Are yer better? 

Bel. Yes. 

Liza. How's April ? 

Bel. She's well. 

Liza. Glad of it. Where be she ? 

Bel. Down the road after goldenrod. 

(A pause and then.') 

"Liza. I ain't see you ter speak ter since April left our beds 
and board. 

Bel. (quietly; working). No. 

Liza. Trade's fallen off fierce, Belindy. Why, they don't 
begin ter sell the cigars, tonics and such things menfolks likes, 
that they used ter. You don't trade at our store 'tall now ? 

Bel. No. Jonas likes to go down to the county seat once 
a week, and he can buy in bulk much cheaper. 

Liza (suddenly). You ain't noticed my new dress? 

Bel, (as she gets up to show it off). It is a new one, isn't 
it? 

Liza. Well I guess, and it cost six cents er yard, too. I 
think it wuz dead cheap fer the money. 

Bel. I should say so. 

Liza. Where's Jonas ? Ain't he comin' in ? 

Bel. Jonas has gone to the station to bring Hank home. 

Liza. Oh, his time's up, ain't it? Wonder what he'll get 
inter next? I'm glad I didn't waste any er my feelin's or 'fec- 
tion on him. (Suddenly.) Say, Belindy? 

Bel. Well ? 



PLAIN PEOPLE 37 

Liza {embarrassed^. Did yer know your brother Jonas 
give me er bouquet erbout some weeks ago ? I ain't never 
breathed er word ter er soul. Yer see it was this way. He 
come ter our house ter see April, and she hed gone with Jasper 
ter be married, and he hed er big bouquet — er tremendous one 
— and he give it ter me. I've pressed all them flowers, and 
broke my back doin' it, too, and put 'em erway in my big 
Bible. {Titters.) 

Bel. {ho king at Liza ati instant ; then quietly'). I know 
all about it, Liza Liz. Jonas told me. He intended to give 
those flowers to April, but he knew she wouldn't want them, 
so he gave them to you. 

Liza {finding her voice ; zvith a gasp, indignantly). Oh, 
wasn't he mean? Oh, I do think that was the meanest thing. 
I ain't never taken er second-handed thing before in my life. 
If I'd er knovved that wuz the way of it I'd hev never took 
'em. {Quickly.) When did yer say Hank wuz comin' ? 

Bel. He ought to be here at any moment. 

Liza. I'm just er-dyin' ter see him, and I guess he is ter 
see me, too. 

{Door R. 2 E. is thrown open and April enters. She is 
dressed in white with a pretty hat, and her arms are 
loaded down with goldenrod. The gaiety with which she 
plays the following scene with Liza and in her other 
scenes in this act appears forced.) 

April. I've been gone a long time, Belindy. {She dis- 
covers Liza and with a cry drops her goldenrod and makes 
for the child embracing her. Bel. goes out quietly R. 2 e. 
Hysterically.) It's Liza. It's Liza Liz. 

Liza {as April sits dowfi on the floor c, while she is stand- 
ing beside her). 'Course. Who else do yer s'pose 'tis ? 

April {surveyifig her delightedly). How brilliant you look, 
child. 

Liza. Yes. I alius wuz er dazzler. 

April. And how you've grown, dear. 

Liza. Yes, er iew months makes er great difference in er girl 
er my ambition and environtemper. Just think, I'm er-goin' 
ter let down my dress soon — I'm goin' on thirteen — and do up 
my hair. How do yer think my hair would become me, April ? 
Them new-fangled notions will make me look skinny. And, 
say, my waist is half an inch bigger eround, and I can't run 
near as fast as I used ter, (April laughs.) You ain't changed 



38 PLAIN PEOPLE 

much, April. Oh, I'm so glad I come, 'cause it does seem 
good ter see yer once again. Ain't yer goin' ter ask erbout the 
folks ? 

April {^getting up, quietly). I hope they're well. 

Liza. Yes, fair ter middlin'. They ain't never gotten over 
it, April — that day you left. Somehow things is different 
now. 'Tain't like it used ter be at all down there. Mis' 
Bromley, she's changed lots; Mr. Bromley don't scarcely speak 
now, 'cept when he has ter — and — {timidly watching the effect 
of her words') Jasper 

April {after a pause ; quietly). Yes? 

Liza (boldly). Your husband. 

April {quickly). Don't call him that, dear. Don't call him 
that. 

Liza. But he is, isn't he? 

April. Perhaps so. 

Liza. But weren't you married ter him? 

April. Yes. 

Liza. Well, what else can yer call him, then? 

April. You don't understand, Liza. I scarcely do myself. 
Things came about so suddenly when they went into that room 
together, and I knew they doubted me. They doubted me. 
Oh, that cut me like a knife. I couldn't stay one instant after 
that, Liza. {After an instant, controlling herself ; quietly.) 
Yes, I'm Jasper's wife — in name; but I shall never be anything 
else. 

Liza. You've got the ring, and you never showed it ter me. 

April {looking down at it, sadly). Yes. It's only a 
mockery now. 

Liza. Well, I ain't never seen er girl like you be, and I 
guess the Bromleys ain't either. Trade's bum, April. 

April {quietly). I'm sorry. 

Liza. Well, I wouldn't be if I wuz treated the way you 
wuz. 

April {quickly). You mustn't talk like that, Liza. 

Liza {quickly). Oh, I know er thing er two, and you 
needn't think I don't. Mis' Watkins has come back ter trade, 
and so hev the rest of her cronies. They buy two cents' wuth 
er this and three cents' wuth er that just fer the tradin' stamps. 
Nice customers they be. I reckon there won't any one git rich 
quick off er them. 

April {holding her off and looking at her). What a chatter- 
box you are, Liza Liz. 



PLAIN PEOPLE 39 

Liza. Well, I can't help it, it's human natur', and I guess 
that's all there is to it. (^ pause and then.') What are yer 
goin' ter do? 

April {quietly). I'm going away to-morrow. 

Liza. Fer good ? 

April. And all. 

Liza. Gosh all hairpins ! Where yer goin' ? 

April, I've been waiting for a school — ^just a little country 
place, somewhere. And I shall go there and bury myself, and 
try to forgive and forget. 

Liza. Do yer mean it, April ? 

April. Liza, dear, you don't understand me. I can never 
be anything more than I have been. I must live. I can't 
stay here. 

Liza. But ain't yer goin' ter wait till Jasper comes back? 

April {bitterly). Do you think I would go back to that 
house after this? No. I'm free, and can do as I like. True, 
I'm married, but my husband has cast me off — {bitterly) an un- 
used garment. 

Liza. Jasper's been gone ever since that day you left, April. 
He and Mr. Bromley walked the floor all the rest er the day in 
that room, and the air wuz blue-black and yaller tint. Oh, I 
heard 'em. You ought not ter feel so against Jasper. I'm 
sure he loves you. 

April {bitterly). He loves me ! Come, Liza, let us talk 
about something else. I'm trying to do my best to forget 
it all. 

Liza. I can't. 

April. Then, dear, you can't stay any longer. 

Liza. Oh, April, you ain't er-goin' ter send me home? 

April. Yes, Liza. I've left the Bromleys now. I'm my 
own mistress and may do as I please. To-morrow I leave this 
village for good. {Embraces her.) I'm glad you came to 
see me, dear. Good-bye, be good, and remember me — some- 
times. 

Liza. April, I ain't never hed er friend like you. 

April. You will some day, dear. 

Liza. I'm goin' right back and tell the Bromleys I've seen 
you, and I'm going to tell them just what I think of them. 

April. They believed that what they did was for the best, 
child. {Sadly.) Perhaps it is, who can tell? 

Liza {at door r.). I can, and in my very best Sunday go- 
to-raeetin' verangular. \_Exit, r. 2 e. 



40 PLAIN PEOPLE 

(April stands c. an iiistant and then Bel. enters r. 2 E.) 

Bel. {qicietly ; cotning dow?i). You sent Liza away ? 

April. Yes. I couldn't bear to have her speak any longer 
about — them. 

Bel. Liza says you're going to-morrow, April ? 

April. Yes, Belindy, I can't stay here forever. You're 
better now, and you don't need me, and there is nothing to 
keep me here now. 

Bel. You're quite welcome to stay, April. Jonas and 
I 

April. Yes, you and Jonas. Oh, you've been so kind, 
Belindy, and so very comforting to me, and I appreciate it so 
much. Oh, you don't know, Belindy — you can't realize all a 
woman passes through when she loves, when her whole heart 
and soul is completely taken up with the one person she cares 
most for in all the world 

Bel. {quietly; with feeling^. Yes, I can, April. 

April {looking at her eagerly). Have you been in love, 
Belindy ? 

Bel. (dropping her head ; quietly^. Yes. Before you were. 
I didn't know that he cared for you though. 

(An instant during which April looks at her ; then, as the 
truth dawjh upon her, she utters a sharp cry.) 

April. Belindy ! (As Bel. buries her head in April's 
arms, weeping quietly.) You loved him ! You loved him ! 
And I came between. Oh, Belindy ! 

Bel. (sobbing). No, you didn't. You didn't ! You just 
was there. 

April. Oh, but if he had never seen me, dear, it might 
have been different. You two would have been married, and 
then how happy you would have been. 

Bel. (sobbing). I'm not so sure. 

April. Perhaps — perhaps you will yet — Belindy. 

Bel. (looking up, startled). What do you mean? 

April. After I'm gone away. 

Bel. [embracing her and clinging to her). No — no — no ! 
Don't go, April. Stay with us. Stay with Jonas and me. 
There's room for you. 

April. Yes, but there's more room out there, Belindy, 
where I can forget and bury myself, and no one knows me. 
Here, I know everybody, every nook and cranny holds some- 



PLAIN PEOPLE 41 

thing to remind me of happy moments. No, dear, I'm going 
to-morrow. (^The rumbling of a wagon heard oiitside.~) I'm 
going to-morrow, 

Jonas {outside). Whoa, thar. 

Bel. I'here's Jonas ! Does he know ? 

April (crossing to l. 1 E.). No ; I — I can't tell him, Bel- 
indy. You do it. \^Exii. 

Enter Jonas, r. u. e. 

Bel. Did you get Hank ? 

Jonas. No, train's late. Won't be here for two hours, so 
I thought I'd come back and let him foot it. Thought I'd find 
April along the road, and give her a ride home, but i guess 
she's beat me home. 

Bel. She's — here, packing. 

Jonas. Packin' — what fer ? 

Bel. Goin' erway. 

(A silence and then.') 

Jonas. When ? 

Bel. To-morrow. (Goes to him and places her hand on 
his shoulder; quietly.) Perhaps — perhaps it's better, Jonas, 
Then we can forget. We can both forget. 

Enter April, l. i e, 

April. Belindy, have you seen my little black worsted 
shawl; the one you knit for me? {Sees Jonas.) Oh, you've 
got back, Jonas. 

Jonas {quietly; eyeing her). Yes. 

April {confused). And Hank, did become? 

Jonas {eyeing her). No. 

April {dropping her eyes). His mother will be so disap- 
pointed. (To Bel.) Isn't that strange about the shawl, 
Belindy ? 

Bel. (taking the hint). It can't be lost. (Crosses to l. 2 e.) 
I'll look in the kitchen. {^Exit. 

(A pause of einbarrassvient betzveefi April and Jonas after 
her exit. After an instant, April looks up and meets his 
steady gaze. ) 

Jonas (quietly). Whar yer goin' ter-morrer, April ? 
April, I'd — I'd rather not tell you, Jonas. 



42 PLAIN PEOPLE 

Jonas. I wish yer would. 

April (^quietly). Why ? 

Jonas. Because — because if he should ever want to know. 

April. He shouldn't. , 

Jonas. Oh, you don't know Jasper. He's gone for er 
purpose, as true as I'm er-standin' here, and if he should come 
back and want ter know whar yer'd gone ter 

April {jjuickly). You'd tell him ? 

Jonas. Yas. 'Twould be his right. 

April {bitterly). His right ! Ha ! His right. He for- 
feited his right when he believed that man's story. When he 
went into that room. 

Jonas {quietly). Yer acted too quickly, April. I know it 
ain't none er my business, and I ain't got any right ter speak 
erbout it to yer, and I ain't said er word erbout it all till now; 
but yer goin' erway and — and I alius liked Jasper, and I think 
yer ought ter waited, April. Yer ought ter waited. 

April. I couldn't let a man kill my pride, Jonas. 

Jonas (after a pause). Won't yer tell me whar ye're goin' ? 

April {after a?i instant's thought). Jonas, if — if he should 
ever come to you — and ask for me — you may give him the 
address 1 leave. 

Jonas. You won't leave no word ? 

April {quietly). No. 

{Door R. 2 E. opens and Bel. enters with the shazvl.) 

Bel. Here's the shawl, April. 

April {taking it). Thank you, Belindy. {Crosses to 
R. IE.) Isn't it most time for meeting? \_Exit, 

Jonas {quickly). I clean fergot it, April. Git on yer hat, 
Belindy. 

Bel. {as they both make ready). What did she say, Jonas ? 

Jonas. I made her promise ter leave word whar she wuz 
er-goin'. It might come in handy if I should want ter take er 
hand. I'm gettin' my dander up fast, Belindy, over all this 
mess. It's been goin' on fer weeks now and neither one of 'em 
has shown er two spot, and if it wasn't prayer-meetin' night, 
Belindy, I might be tempted ter git inter another kind of er 
meetin'. 

Bel. {pausing in the act of putting on her hat and looking 
at him in astonishment). What do you mean, Jonas? 

Jonas {pacing the floor). Git on yer hat, Belindy, 'fore I 
git mad. 



PLAIN PEOPLE 43 

Bel. {busifiess ; aghast). Jonas! 

Jonas. Git on yer hat before I svvar. 

Bel. (quickly). I'm — I'm ready, Jonas. You go out and 
bring the horse eround ter the door, and I'll turn the lamp 
down. 

(^As she starts to turn the lamp down there is a knock on 

door R. 2 E.) 

Jonas. Yer better turn up the light, Belindy. 'Tain't no 
use meetin' folks in the dark. 

Bel. {business). We'll be late for church, Jonas. 

Jonas {^oing to open the door ; quietly). May not git 
thar 'tall, Belindy. {He throws opeti the door and exclaims.) 
Wal, by gun ! 

(^He steps back, admitting Ezra and Al. They enter rather 
timidly. Both are pitiful figures, and show the degree 
of suspense they have been laboring under. TJieir forced 
gaiety is pathetic. They stand huddled together through 
pari of the opening scene. Al. has hold of 'E.ZRh's hand. 
There is great constraint through most of the sceiie, which 
Ezra a}id Al. do tJieir best to lift.) 

Ezra. It's only Almiry and me, Jonas. Don't yer know 
us? 

Jonas (coldly). Yas, I know yer. 

(A pause and then.) 

Ezra. Didn't expect us ter come like this, did yer ? 
Jonas. I knew yer would some time. 

{A pause, and then Al. says quickly.) 

Al. (going to Bel.). Oh, Belindy, I'm so glad to see you. 

(She kisses her, and Bel. submits coldly to the salute.) 

Jonas. We wuz just erbout ter go ter meetin'. 
Ezra {quickly and helplessly). Then we won't keep yer, 
then. {Turns to go R. 2 e.) Come, Almiry. 

{They go up to the door while Jonas atid Bel. exchange 
looks ; suddenly Jonas says, as they open the door to go 
out.) 



44 PLAIN PEOPLE 

Jonas. Wal, I ain't 'tall pertickler 'bout goin', and Belindy 
ain't neither, seein' as how we ain't either of us been fer six 
weeks. (Ezra and Ki.. turn.') S'pose you've been often? 

Ezra \bitterly). No, 1 ain't hed the heart, Jonas. 

Jonas {looking at Bel.). Guess they better set down, 
Belindy? 

Bel. Yes, do sit down. 

. t [wincing). Thank yer. 

{A pause and then.") 

Jonas. How's trade, Ezra ? 

Ezra. Bad. Pretty bad lately. 

Jonas. Customers pay ? 

Ezra. Most on 'em do. Few keeps gittin' somethin' fer 
nuthin'. 

Jonas {after a pause). Who yer got ter help yer? 

Ezra {quietly). Nobody. 

Jonas {after a pause). Don't see how yer kin git erlong. 

Ezra. Oh, there ain't so much ter look after as when — as 
when 

{He stops, unable to go on, and ]oi^ as says, quietly.) 

Jonas. Yer hed April. 

{There is a pause in which Al. and Ezra exchange looks 
while the other two wait for them to make the next move.) 

Ezra. That — that brings us ter the object er our comin' 
here ter-night, Jonas. Almiry and me, we heard — that is Liza 
come home ter-night, and she says as how April's goin' erway. 

Jonas (quietly). Yes. 

Ezra {beginning to grow angry). What right hez she ter 
go erway ? 

Jonas. What right ? 

Ezra {warming up). Yas, sir. She's my son's wife, and 
she chose ter leave our roof without our permission and seek 
shelter here with you and your sister, but she ain't got no right 
ter go fartlier. 

Jonas {getting excited). See here, Ezra Bromley, you driv 
that gal out er your house 

Ezra. That's er lie. 

Al. {alarmed). Ezra 1 



PLAIN PEOPLE 45 

Jonas. And she come here ter me and I give her er 

home, and she's goin' ter do just what she thinks is right ter 
do fer her and hers, and I shan't stop her. 

Ezra {breaking dowii). It wuz all er misunderstandin' — 
er terrible misunderstandin', Jonas. Jasper's gone ter look 
inter what Judge Marley said 

Jonas (bitterly). What Judge Marley said ? What does 
Judge Marley know erbout April? What right has Judge 
Marley ter interfere, and what right hev you ter let him ? And 
you believed him. You let him come between Jasper and 
April. 

Ezra (brokenly). I ain't never fergave myself, Jonas. I — 
I was so excited that day, Jonas. Oh, you don't know. It 
all came so like er thunderbolt — the weddin' — the dinner — 
the good times, and then the Judge, and — and — I wanted time 
ter think, I didn't know what ter do — I didn't know what ter 
say — r wanted ter git erway somewhere — somewhere to think— 
think clearly. 

Jonas. And yer didn't doubt her ? 

Ezra. Not for an instant. 

Jonas. And did yer believe the Judge ? 

Ezra. Not fer an instant. 

(A pause, and then Jonas looks at Bel., and says.) 

Jonas (quietly). Guess they better take off their things^ 
Belindy. 

Bel. (to Al. and Ezra). Yes, do. 

Ezra (quickly). No, thanks, Jonas, — we — we understand 
how you feel agin us — Almiry and me. Don't we, Almiry ? 

Al. Yes. 

Ezra. And we don't blame yer er bit. I know as how I've 
alius hed the repertation fer bein' er fair and square man, 
Jonas, and you be too, and I only did what I thought was right. 
Jasper and I hev hed it out, and he's gone, and he won't come 
back till he kin clear April. Almiry and me, we're all broke 
up erbout it. Almiry, you tell him the rest. 

Al. We heard April was goin', Jonas, and we brought this 
ter her. 

(Produces a box done up in red paper. The box is square.') 

JONAS.|Tj^^^gj^^^_ 

Al. Yes, it's hers. She left it behind when she went. 



46 PLAIN PEOPLE 

S'pose she wuz too proud ter take it. Thought she'd leave it 
fer us ter open 

Jonas {bitterly). 'Course, as long as yer doubted her. 

Ezra {quickly'). But we ain't opened it. We ain't opened it. 

Al. It's been in that top drawer where she put it ever since 
the morning of the day she was — married, and we thotight per- 
haps she'd come fer it. 

Jonas {bitterly). April ? You don't know April. You 
don't know her. She worked fer yer, and give yer the best she 
hed; but yer don't know her. No. The minute a mean 
sneakin' varmint comes eround with his pisen you get bit. 
Yer believe what yer hear. 

Ezra {wiucing). Don't reproach us, Jonas. 

Jonas {tvith feeling ; strofig). I'd hev married April and 
not asked any questions, and if the Judge hed told me, I'd 
hev killed him. 

{Silence, and then Ezra says faintly. ~) 

Ezra. I believe yer would, Jonas, and April would never 
hev fergiven yer. 

Jonas. I don't care. A man like that ain't got no right 
under God ter live, just ter come 'tween folks' happiness like 
that. 

Ezra. But there's lots er them in the world, Jonas. 

Jonas. Yes, lots er them. And folks toady ter 'em, and 
scrape ter 'em, and think they're so grand, and tell how much 
they do fer charity, when they don't know the meanin' of the 
first thing erbout charity. {They are startled by a loud knock- 
ing on door R.) Who's that, I wonder ? 

Bel. You better go, Jonas. 

Jonas. Wal, whoever it is, they ain't wanted here now. 

Ezra {as Jonas gets up ; emphatically). No, they're not. 

(Jonas gets up and opens door r. a trifle, but it is stcddenly 
pushed open and Mel. flounces into the room followed 
by Hiram. She plays all of this scene totally unconscious 
of the constraint of the other characters, which Hiram 
notices to his embarrassment.) 

Mel. Good-evening. Howdy, Ezra? Howdy, Almiry? 
What is it ? Good old-fashion reunion ? I knew yer'd git 
tergether when yer come ter yer senses. Come right in, Hiram 



PLAIN PEOPLE 47 

Curtis Peck, and don't leave the door open behind yer ter cliill 
the air. Ain't it cold, Almiry ? 

Al. {coldly). Yes. 

Mel. {sta7iding, with Hiram behind het-). Saw tlie light 
Avlien we wuz er-goin' by, and Hiram Curtis says, "Let's go 
in." 

Hiram (as they all dart him a freezing look ; abashed). I 
never. 

Mel. {coldly ; firmly). Hiram Curtis Peck, you said it. 

Hiram {meekly). Guess I did, Melissy. 

Mel. Hiram is so in love with me, he don't know half 
what lie does say. {Looks for a chair.) Sit down, Hiram. 

Hiram. Thar ain't no chair. 

Mel. Well, find one. Bring me that one over there and 
you kin stand fer er spell and rest yer lean, long, lanky limbs. 
{Sits ; to Al. ) Yer look real well, Almiry. {There is no an- 
swer, and instead there is a pause which threatens to become 
embarrassing for Mel., and she says quickly.) You ain't 
er-goin' ter hear the new minister, be yer ? 

All {coldly). No. 

{Another pause and then.) 

Mel. {quickly). Did yer go last Sunday? 
All {coldly). No. 

Mel. (quickly). Thought I didn't see yer. {Another 
pause, and then.) Been at all lately? 
All {coldly). No. 
Mel. {in a loud whisper to Hiram). You say something. 

{A short pause of embarrassment while Hiram fidgets, and 
then he says.) 

Hiram {meekly). Hev er pep' mint? 

All {indignant). No. 

Mel. {exasperated). Ain't you sold all them things yet, 
and don't yer know ernough ter keep them things in yer pocket 
and fergit 'em once in er spell ? 

Hiram {ineekly). Couldn't think of anything else ter say. 

{A pause, aiid then Mel. sees the red box in Al.'s lap and 
exclaims. ) 

Mel. If there ain't er red box ! 

Al. {quickly). It belongs ter April— we brought it ter her. 



48 PLAIN PEOPLE 

Mel. Dew tell. Heard anythin' from Jasper ? 

Ezra {quickly). No. 

Al. (jjuickiy). He's ervvay on a little business trip. 

Mel. (eagerly). Oh, that wuz it. The Judge wuz er won- 
derin' what he went erway fer. Oh, he's doin' so much good, 
the Judge is. He's given ervvay er fortune, almost, sence he's 
been liome. They wuz all talkin' erbout it at the meetin' of 
the Village Improvement Society last night, and Mis' Jones said 
tliey ought ter draw up er petition or er certificate of thanks 
and present it ter him as er sort of er memorial fer his birth- 
day, ter-morrer. Just think, it's his sixtieth birthday, and 
he's consented ter hev er party and er caterer down from Bos- 
ton and all them things, and I'm eround invitin' all the folks 
ter come. You're all comin', er course. {A pause a7id then 
Mel. to cover np her embarrassment rutis on.) It's goin' 
ter be er great day fer this village, and they kin all thank the 
Judge fer it. He's so good, so generous, and such a real 

Christian (Jonas has been having hard work all through 

this scene to hold his temper, but at this he can stand it no 
longer and a gesture of impatience attracts Mel.'s attention.) 
I'm glad you agree with me, Jonas. 

Jonas (/;/ a rage). Melissy,, you go home. 

(Mel. pauses, gasps, looks at him in astonishment, and then 
abnost shrieks.) 

Mel. What ? 

Jonas. You git. 

Mel. What — fer ? 

Jonas. Don't stop ter ask, you git. 

Mel. (gettitig quickly up and collecting her scattered senses ; 
dazed). Go — go home? Yes — yes — certainly — certainly. 
Good-evening. (To Hiram, as they go out r. 2 e.) That's 
all your fault, Hiram Curtis Peck. If you hadn't said 

Hiram. Hev er pep' mint ? 

Mel. (7vith a shriek). No. \_They exeimt. 

(An inslajit and then Ezra and Al. get tip.) 

Ezra. I guess there's nothing more to be said, Jonas. 
Almira and me hev said all we kin. We've suffered lots since 
that day, and we've been prayin' fer it ter come eround all 
right ter make the young folks happy. We can't do no more 
till Jasper comes back. 

Al. We — we couldn't see April? 



PLAIN PEOPLE 49 

Jonas {coldly). No. 

Ezra (brokenly). Come, Almiry, it ain't no use. {At 
door R. 2 E.) It ain't time yet. {About to open the door.) 
Will yer give her the box ? 

Jonas. I'll leave it here upon the table where she can see 
it — where she can take it — if she wants ter. 

Ezra. Thank yer, Jonas. Come, Almiry. 

Al. {throwing her arms about Bel. and kissing her ; with 
feeling). Good-night, dear. Give April this for me. 

A^'^^ \ {goitig out R.). Good-night. 

g.^^^- I Good-night. 

{An instant during which Jonas paces the floor while Bel. 
stands ivatching him.) 

Jonas. Belindy, I'm all worked up. Let's go fer er ride 
somewhere. 

Bel. {quietly). I'd like ter, Jonas. 

Jonas {as she turns the light doion). You and me has hed 
er good many er them rides lately, Belindy. It's the best kind 
er medicine. {At door r. 2 e.) Bundled up warm ? 

Bel. Yes. \_They exeunt. 

{An instant or so after they have gone out April enters 
quickly R. i e., dressed for going away.) 

April. They've gone to church, and I can get away before 
they return. Oh, they would forgive me if they understood 
how hard it is to say good-bye. Good-bye ! {She goes to 
wifidow c. atid raises the curtains so that a clear view tlirough 
the windoza can be had.) It's still clear, and moonlight. 
{Goes to the lamp on the table and turns it up.) I wonder 
what time it is? I thought they'd never go. I do so want to 
catch that eight-fifteen train. {She has turned up the light and 
has gone to the clock on shelf v.. and has started to go back to the 
table again when she sees the box on the table with the light 
from the lamp pouring on it. She gasps, then stares at it in 
astonishment.) How — how came that here? {Bitterly; 
with a laugh.) Oh, the irony of fate. {She stands holding it 
in her hands an instant.) No, I've no use for you any longer. 
Even if I should open you now, your contents would be a 
mockery. {Starts for the fireplace R.) No, I'll burn it. 
I'll burn it, I'll burn it. {She is about to throw the box into 



5P iPLAlN PEOPLE 

the flames when an idea comes to her.') 1 wondef if it would 
do any good to open it? I'm married. {Bitterly.') Married ! 
{Sfie seats herself upon the floor before the fireplace and in 
Jront of an oldfashioned chair so that she is hidden from 
sight of any one entering the }-oom and casually looking about 
and opens the box.) Papers — letters — legal documents. Ah ! 
A will. — And a marriage certificate. A marriage certificate. 
(She is iJitensely engrossed in reading.) My mother's name ! 
— Oh ! And my father's name. They were legally married. 
They were legally married. Thank God ! Thank God ! 
{She bursts into hysterical tears and buries her face in her 
arms on her knees and zveeps silently for an instant. Judge, 
unkempt, wild-eyed and without a hat, is seen climbing over 
the verandah outside window c. He glances into the room 
during this scene. April looks through the papers fever- 
ishly.) Here's — here's a letter — written in my mother's hand- 
writing to me. {Reads aloud.) "■ To my darling little girl. 
Now that you are married, dear, and have some one to pro- 
tect you, and watch over you, I am willing that you should 
open this box and read all that it contains so that you will be 
warned in time and never have to suffer as I have. I want 
you, dear, to be warned of " 

{She utters a sharp cry and reads 07i feverishly.) 

Enter Judge, c. 

]\J-DG-E. {muttering to himself ). It's here. It's here. Mel- 
issy saw it. Saw it to-night. No, it must be darker. I can't 
be found out. I can't be found out, I'll turn the light down 
so they won't see. They won't see. 

{He ttirns the light down and April looks up.) 

ApiiiL. Why, how dark it is ! {Startled ; hears Judge 
fumbling about.) There's some one in this room. Some one 
has turned down that light. Yes, and the window is opened. 
{Rises with her papers and box.) Who's there? 

Judge {turning up the light with a cry). Ha ! 

April {discovering him). You ? 

Judge {going for the papers). Give me those papers. 

April. No. They're mine. I've found you out, Judge 
Marley. You ruined my mother. 

(She fai fits attd falls C.) 



PLAIN PEOPLE 51 

^XivycE. (snatching the papers ; feverishly'). Tell them. Tell 
them. Tell them. But I've got the proofs. I've got the 
proofs. 

(^He makes for the witidow to escape. ) 

Jasper {blocking his exit). And I've got you, Judge Mor- 
ley, and we're going to have it out. {Tableau.) 



QUICK CURTAIN 



I 



ACT IV 

SCENE. — Same as Act I. At the Bromleys', afeiv moments 
after the previous act. 

{As curtain goes tip,- K.V.. is discovered seated knitting at 
right of small table L. c, on which a lamp is burning, 
while on the other side Liza sits reading a 7iervspaper. 
An ifistant after curtain goes up Al. lays doivn her work, 
wipes her eyes with her handkerchief and blows her nose.^ 

Liza (looking up quickly'). Mis' Bromley, you're cryin'. 

Al. I ain't, neither. 

Liza. Yes, you be. 

Al. No, I ain't. 

Liza. Yes, you be, 'cause I kin tell by the complexion of 
your voice. 

Al. (Jtidignani). Liza Liz Hankins, ain't you got no 
manners, ter contradict yer elders like that ? You just keep 
still, and don't you move nor open your mouth for five whole 
minutes, no matter what yer hear. 

Liza. It ain't goin' ter take that long, is it? 

Al. Be still. 

Liza. I am. I ain't movin' er mite. 

Al. But your tongue is. 

Liza (quickly). No 'tain't. I'm talkin' through my teeth. 
(Al. subsides in despair and there follows an interval of si- 
lence ; finally Liza begins to get restless, steals several looks 
at Al., and then, unable to stand it any longer, says timidly.) 
Mis' Bromley? (No answer.) Mis' Bromley? 

Al. (sharply). \Vhat is it now ? 

Liza (faintly). I — I got er itchy place. 

Al. What of it ? 

Liza. Kin — kin I scratch it ? 

Al. Yes, if you do feel that bad. 

Liza (business). There, I do feel better. 

(Door c. opens and Ezra enters well muffled and carrying 
a lantern.) 

Ezra. Settin' down, Almiry? 

Al. Good land, Ezra Bromley, I ain't er railroad train. 

52 



PLAIN PEOPLE 53 

Ezra. No, didn't spec' yer wuz. 

(^He biotas out the light in the lanteni, then takes off his 
things and hangs them up on door c, then goes to fire- 
place to warm his hands L. c, during following.') 

Al. If I wuz as slow as you be I'd never get anything done. 
It does seem as though you wuz forever shutting up the barn. 

Ezra. Wal, it's gettin' cold fer September, and I wanted 
ter look at them young trees. 

Al. Got the hoss tied up ? 

Ezra. Yas. (^Discovers \az\.) Liza settin' up ? 

Liza {quickly). Mis' Bromley said I could till you got back 
from the Jarrocks' for tellin' you about April. 'Sides, I can't 
sleep when I go ter bed so early. 

Ezra. Sho;whynot? 

Liza. Oh, I'm too big, generally ; but ter-night, after seein* 
April, I can't git ter sleep, anyway. My thoughts won't let 
me. I do think it wuz awful mean the way you treated April. 

Al. (aghast). Liza ! 

Ezra {quietly amused). Wal, if I ain't persessed I What 
do you know about the way we treated April ? 

Liza {tvarming up). Oh, I know all about it. ' I can see 
things if I do have to sit and listen when growed-up folks has 
the floor. 

Ezra {coffiing down to his chair in which Liza is sitting). 
Wal, it's bedtime now. 

Liza. Oh, can't I sit up this once? 

Al. (sharply). Liza Liz Hankins, you go to bed ! 

(Liza whimpers, sulks, then gets down from her chair, slams 
the newspaper down on the table, and scuffs out L. i e.) 

Liza. I'm so mad I shan't sleep all night. \_Exit. 

(Ezra stares after her an insta?it, and then bursts into a 
loud laugh.) 

Al. I wish you wouldn't, Ezra. 

Ezra (calming down). That gal knows a thing or two, 
Almiry. 

Al. (sighing). Yes, and it's not my way to beat it out of 
her, like my folks did to me. 

Ezra (sitting L. c, taking out his spectacles, etc.). Paper 
come? 



54 PLAIN PEOPLE 

Al. Yes. 

Ezra. Wonder what there is fer news that ain't old news? 
Al. (as he takes tip paper). If you don't mind, Ezra, I 
wish you'd read it out loud. 

(He looks through paper while she knits, and after several 
instants.') 

Ezra. Luke Hanson's goin' ter build er new addition 
ter his house. 

Al. Well, I do declare ! that is news. But come ter think 
of it they ain't hed no new clothes this year. 

Ezra (reading). " Miss Marthy Higgins has accepted the 
position of principal at Maple Seminary." Thet means six 
hundred first year, and seven hundred the next fer Marthy. 

Al. She alius wuz smart at mathematics. 

Ezra. Sam Sanderson's got er new buggy. 

Al. That's three days old. 

Ezra (suddenly dropping the paper). I — I can't read no 
more, Almiry, I can't. 

Al. (lookijig up ; surprised). Why not, Ezra? 

Ezra (overcome). Oh, 'cause, Almiry, I git er-thinkin'. I 
git er-thinkin' 'bout April. We ain't done right. We ain't 
done right by our boy, and I'm ter blame, Almiry. It's all my 
fault, and there warn't no excuse fer doin' it, either, just as 
Jonas said. 

Al. There, there, Ezra. It was your temper. You're 
fiery, and so's Jasper, and so's April. Don't worry, it'll come 
out all right. It'll hev ter. 

Ezra. But if Jasper don't come home to-night he'll lose 
April, 'cause she'll go — like she said she would — in the mornin', 
and you know when April makes up her mind 

Al. (quietly). Jasper will come, 

Ezra. Yas, he'll come if he has ter walk every step of the 
way, and he'll put things to rights whar they ought ter be put, 
I reckon. I can't never fergive myself, Almiry, fer my part 
in it. 

Al. You wuz a bit hasty, Ezra, at jumpin' at conclusions, 
but we can't hev our wits about us all the time. Didn't the 
greatest general thet ever wuz get caught nappin' ? 

Ezra. Yes, Almiry, thet's just what it wuz. I wuz caught 
nappin'. (A timid knock at door c.) 

Al. Fer the land, who's that, and at this time er night? 



PLAIN PEOPLE 55 

(^Gets lip.') You set still, Ezra, and I'll go. (^Crosses to door 
c, throws it open, and Mel. enters in great distress and dis- 
order.) Well, above all things, Melissy VVatkins ! 

Mel. Oh, Almiry, hev you seen him? Is he in 
here ? 

Al. Who? 

Mel. The Judge. 

Ezra (rising; angrily). Do yer think thet Judge Marley 
would come here after what he done and after I kicked him 
out? 

Al. (alarmed). Ezra ! 

Mel. (sitting down weakly and running on). Oh, you don't 
know. Something's happened, something dreadful, ter the 
Judge. He — he went out after I got back from the Jarrocks' 
with Hiram Curtis, and I ain't seen him since, and I got so 
worried and so nervous that I couldn't stand it a minute longer, 
and come out ter find him. I seen your light when I wuz 
passin' and I thought — I thought he might be here. 

Ezra (coming down, facing Mel. ; sharply). What made 
yer think that, Melissy? 

Mel. Wal — wal — it alius seems good ter drop in here. 

Ezra. And you say that, after what you did ter me and 
mine? 

Mel. {rising; indignant). I never did nothin'. 

Ezra. What about April ? 

Al. (touching his arm ; gently). Ezra? 

Mel. I never did a thing. She went away of her own ac- 
cord. It warn't my fault. 

Ezra. But you told the Judge ? 

Mel. (sitting ; distressed). Yes, and I wish I'd never done 
it. I ain't had one minute's peace fer doin' it. Nothin' but 
'ternal torment from the Judge and the neighbors. I only did 
what I thought wuz my duty. I thought she wuz er-plannin' 
ter fall in love with Robert, the Judge's nephew, and I knew 
I'd get blamed fer it from the Judge, so I writ and he come 
home and things turned out unexpected. 

Ezra. Yas, they did. 

Mel. Of course I'm willin' ter take all my share of the 
blame. I thought I wuz doin' you folks some good or I never 
should hev done it. Anyway it does show how some good in- 
tentions are appreciated. 

Ezra. Wal, Melissy, good intentions is all right in their 
place, but yer want ter be mighty perlickler about the kind of 



56 PLAIN PEOPLE 

folks and who they is before yer make the first move. I 
reckon as how yer did think yer vvuz doin' us er good turn, but 
yer didn't go about it the right way, Melissy. 

Mel. {bursting into tears). I just do declare I never can 
do anything right, and when I try so hard to be a comfort and 
a help to people, Miss Jones is alius pickin' on me at the Vil- 
lage Improvement meetin', and there's no tellin' what the oth- 
ers say and — and I did think you folks would understand 
me. 

Ezra. Wal, Melissy, I'm goin' ter speak right out plain ter 
you. You alius wuz in my mind a meddler 

Al. {gently). Ezra ! 

Ezra. A meddler, along with the rest of that Village 

Improvement crowd, but even if you was a meddler, Melissy, 
I alius thought that you had good qualities 

Mel. {interrupting eagerly). 1 have ! Oh, I have ! 

Ezra. That might make a mighty fine woman out of 

you. I'm glad yer came in here ter-night, Melissy, 'cause I've 
just been itchin' ter talk serious-like ter you, and tell yer what 
I think, ever since that mornin' in this very room when Martin 
Jasper come home and you diopped in ter tell us your opinion 
of April. Do yer remember it ? 

Mel. {lueepitig). Yes. 

Ezra. Wal, yer wouldn't listen ter me, Mehssy, you was 
bound ter have your say, and you had it, yer had it ter yer 
heart's content, and we were fools ter listen ter yer ; and now 
you can just set thar and look around yer and see all the misery 
you've made. 

Mel. {sobbitig). I do. Oh, I do. 

Ezra. Tattle is mighty cheap, Melissy, but it makes an 
awful lot of trouble sometimes. We've suffered, Almiry and 
me, fer we wuz carried away against our judgment. 1 sepa- 
rated our boy from the best gal that ever was, and — and it 
wouldn't have happened if it hadn't been fer you. 

Mel. {tearfully). What can I do? 

Ezra. Wal, you better go home and git ter sleep and wake 
up different in the mornin'. 

Mel. {rising quickly). I will ! I just will ! 

Al. You better come inter the kitchen before you go, 
Melissy, and git a hot cup of tea. 

Mel. {delighted). Almiry! {Quietly and gratefully.) I'm 
goin' ter accept, Almiry. Your tea, somehow, never has a 
bitter taste. 



PLAIN PEOPLE 57 

(Al. embraces Mel., and they exeunt, l. 2 E. Ezra stands 
looking after them an instant and then.^ 

Ezra. Wal, it does beat all natiir' how women folks does 
understand one another. {Door c. is flung open and Jasper 
enters. He is greatly %vorked up. Ezra turns.') My boy! 
Jasper ! (Advatices to him.) I knew you'd come. I knew it. 
{As ]as>vkk pushes him one side and paces the room.) What 
is it? 

Jasper {speaking with difficulty). I — I want that pearl- 
handled pistol of yours. 

Ezra. What fer ? 

Jasper (with a cry). I'm going to kill him ! 

Ezra (startled). Who? 

Jasper. Judge Marley ! 

Ezra. No, you're not. 

Jasper. Yes, I am. 

(They stand facing each other an itistafit, looking each other 
full i?i the eyes, Jasper greatly ivorked up, panting zvith 
emotion, Ezra calm but firm. After an instant, Jasper 
goes up stage, unable to control his emotion.) 

Ezra {brokenly). My boy ! My boy ! Don't do anything 
rash. Don't go ter doin' somethin' that you're goin' ter regret 
all your life. Remember, it ain't only now, it's the future you 
have got ter face. Don't tell me you want ter commit an act 
like that ! 

Jasper {coming doion). Father, that man came between 
me and the girl I loved. He has made an accusation which 
no honest man would stand. I love April, and it isn't true. 
I've found out all about Judge Marley. I've traced his move- 
ments almost to the very day he was born. He's a reformed 
adventurer. {With a disdainful laugh.) Reformed? Ha! 
but he goes back to his old tricks. He ruined April's mother, 
disgraced her father, and when she came into his path sought 
to get rid of her by slander. Father, that man has no right to 
live and I'm going to kill him ! 

Ezra. Are you mad ? 

Jasper. Mad ? Yes ! Mad for revenge. Where's that 
pistol? 

Ezra {struggling ivith him). Jasper, listen. 

Jasper {business). No, father, it's no use. I know what 
you'll say ; besides, we've had it out and I caught him fair 



58 PLAIN PEOPLE 

and square, and this time he shan't escape. He shan't 
escape. 

Ezra. And I say he shall ! 

Jasper {jvith a cry). Father ! 

E^ZRA (seizing him fir inly). Look here, Jasper Bromley, 
you listen ter me a moment. What can you gain by commit- 
ting murder ? 

Jasper. It isn't murder, it's justice — justice for my wife. 

Ezra. Have you asked her consent ? 

Jasper. Why should I ask her ? 

Ezra. Wal, ain't she the one that's consarned the most? 
Do yer think she would want yer ter stain yer hands with blood 
and bring ruin outer yer father and mother and the whole of 
us, just 'cause you was bound you'd do somethin' that would 
seem ter fix things right and even things up er bit ? No ! That 
ain't the way ter look at life, Jasper boy ! I know you're hot- 
tempered and excited, and have been wronged by a varmint ; 
but it ain't accordin' ter Scripter to punish the varmint that way. 

(Jasper has sunk into a chair and has broken down.) 

Jasper. Father, I can't listen ! I ought not to listen ! I 
know you're right ; but when I left that house I swore I'd kill 
him. 

Ezra. Yas, I believe yer did, Jasper. I do believe yer did. 
It's just like you. It's like my spirit. Oh, I've done er good 
many rash things in my day, Jasper, when I was just as hot 
and rash and as unreasonable as you be now ; and I've regretted 
'em just as quick as I git cooled off, like you will this — tliis 
wretched business. No — no, my boy, don't do anythin' till 
you've let it set ter cool er bit, and by that time you can see 
what's wantin'. 

Jasper (overcome). Father ! 

Ezra (standing over him, patting him gently on the shoul- 
der). Thar — thar. I know how you feel, boy. It does hurt, 
but you'll git over it er heap quicker than if there was powder 
mixed up in it. (The door back opens and AvRiL enters and 
closes the door. Ezra turns around, but Jasper stares dazed 
before him. The ttvo fnen are dow?i L. c. Ezra, as she 
comes doivn.) April ! 

April (coming down). You — you won't let him do it? 

Ezra. Then you knew ? 

April. No, I guessed. 

Ezra. No ! 



PLAIN PEOPLE 59 

April {i-elieved^. I ran all the way to try and stop him. 

Ezra. Thar ain't no need. He won't do it. 

April. I'm so glad. There's been so much trouble on my 
account, I couldn't stand it if I was the cause of that. 

Ezra. You ain't got no hard feelin's agin me, April? 

April {quietly). No. 

Ezra. And — and you come back? 

April {simply). Yes. 

Ezra {holding out his arms and embracifig April). Oh, 
A[jril, you don't know how we've missed you — Almiry and me. 
You don't know how we've wanted yer ter come back all these 
weeks. But now you've come back ter stay, to be with us 
always, to be our daughter and to make us all happy as long as 
we live. 

April {softly'). As long as we live. {A knock on door c.) 

Jasper {rising). Who's that ? 

April {releasing herself from Ezra's embrace and going to 
him). Jasper, it's Judge Marley. 

Jasper {7vith a cry). Judge Marley ! 

April. He promised me to bring some papers, which be- 
long to me, here. 

Jasper. Let him come in. 

April. Let me see him — alone. 

Jasper {with a cry). April? 

April. Please. It is my right. ■ 

Ezra. Yas, Jasper, it's her right. Come. 

{He goes L. 2 e., and Jasper reluctantly follows. After 
Jasper's exit an instant and then April says.) 

April. Come in. 

{Door c. opens and Judge staggers into the room. He is a 
nervous wreck and is completely " gone.^' He carries a 
bundle of papers which he places on table L. C, as he sinks 
dow7i into chair beside it.) 

Judge. You — you won't let him do it, April? You won't 
let him kill me? 

April. No. 

Judge. I can't die now. I'm too much of a coward. I 
want to live to make restitution. 

April {bitterly). What can you do? 

Judge. Right the wrong I've done you. 

April. How can you do that ? 



60 PLAIN PEOPLE 

Judge. By giving you back all I took from you. I haven't 
touched a cent of it, April. It's all there. I never thought I 
should see you again ; but in spite of that I couldn't touch the 
bonds or the mortgages. 

April. And you think that by giving me back my property 
it will right the wrong you have done me ? 

Judge. Why not ? 

April. But wliat of my name, my husband's name? What 
will the village believe? What will your sister Melissy think? 

Judge. Melissy — Melissy is a fool, and so am I, April. I 
thought when I came home and found you here face to face 
with me that I could easily get rid of you by — by making up 
that yarn I told Ezra Bromley; but 1 didn't reckon on your 
being married, and when I came in that day it — it was too late 
to back out. I took my chances and played my hand high. 

April. And tried to ruin me. 

Judge. You can call it that. It was either you or me. 

April. And as usual the weaker of the two — the woman — 
must suffer, and did suffer. And now what are you going 
to do? 

Judge. There's your property. 

April. That isn't enough. 

Judge. I haven't anything more to give, April. I'm 
ruined. 

April. I don't care. You ruined me. 

Judge. No, I didn't. 

April. But you planned to, and by your own confession. 
You've failed, Judge Marley, and now you'll accept my terms. 

Judge. What are they, April? What are they? 

April. That you confess to your guests at your party to- 
morrow what you have done. 

Judge (with horror). Oh, I couldn't do that, April. I 
couldn't do that. Oh, April, have mercy. 

April. Mercy ! You ask for mercy ? What mercy had 
you for me? What pity? 

Judge {covering his face with his hands and moaning). 
Oh, April, I can't doit. Ican'tdoit. Don't ask that. Don't 
ask that. I can't tell them. I can't tell them. 

April. No, you can't tell them, your friends, your dear 
friends, who have set you upon a pedestal to worship as a demi- 
god. You can't tell them what you are, what you've been, and 
what you always will be, a hypocrite, a thief, a wolf in sheep's 
clothing. And you a Christian. Christian ! 



I 



PLAIN PEOPLE 6l 

Judge. Don't make me do that, April. Don't make me do 
that. Anytlfliig but that. 

April. I have saved you from my husband. 

Judge. Yes, yes, I know. 

April. And now you want me to save you from your 
friends ? 

Judge. I can't tell them, April. (^An instaiit and theti.) 

April. Will you write them a statement which I may pub- 
lish, if necessary, explaining your absence from the village in- 
definitely ? 

Judge (eagerly). Yes, yes, I'll go away, April. I'll go to- 
night. It is better so. I'll do it. I'm done for. 

April. No, you're not. Judge Marley. The world is wide, 
and there is surely a place for you somewhere to begin anew 
and live honestly. I'm too happy to care where you go, so 
long as you go. 

Judge. I'll go, April, and I'll never come 'back. (J^ises 
quickly.') I'll go and write the letter now. \Exit, c. 

(April stands c. , speechless with e^notion, and then after an 
instant she says bitterly. ) 

April. And the woman pays every time. With man 
against man it is an even match, and likewise the woman 
against the woman ; but the woman against the man must fail 
— it's the law of God, that the woman be willing to suffer. 

(An instant and Ezra enters L, 2 E.) 

Ezra. You don't mean ter say you let him go, April? 

April (quietly). Yes, it "is better so. 

Ezra. Wal, I'm blowed if I kin understand woman's na- 
tur' anyhow. (He goes to fire which has died do7vn and pokes 
it. April takes up the bundle of papers from table.) Oh, 
April, Jasper was callin' fer yer. 

April. I'll go to him. 

Ezra (embracing her). Good-night, April, we'll all be happy 
in the mornin'. As fer me, I'm goin' ter have another chance 
ter say, "Bless yer, my children." (Tableau.) 



CURTAIN 



New Entertainments 



LITTLE PLAYS FOR LITTLE 
PLAYERS 

A Collection of Simple Entertainments for Children, 
Suitable for use on Thanksgiving Day, Wash- 
ington's Birthday, Patriots' Day, 
and for general use 

By Harriette Wilbur 
and others 

A collection of eleven easy and popular entertainments for children of 
all ages and both sexes, and suited to a great variety of occasions. The 
last six of these have appeared previously as independent books and have 
enjoyed great popularity in that form ; tire first five are quite new. All 
contain all necessary music that is not easily accessible and diagrams of 
all the drills and marches that are described. Where the costumes offer 
any difficulty, as in the case of the Colonial entertainments, patterns are 
given so that these may be easily contrived at home. 
Price, 2j cents 

CONTENTS 

The Thanksgiving Feast. For fourteen boys and six girls. 
" Peter, Peter, Pumpkin Eater." For one little boy and one 
little girl. 

The Minute Men. For sixteen small boys. 

Priscilla. For ten boys and ten girls. 

Scenes From Hiawatha. For use by the whole school. 

The All-America Eleven. For ttuelve boys. 

The Wings of Mignonette. For eight girls. 

The Dolls' Frolic. For two bo'fs ai d three girls. 

The Golden Goose. For ten boys and four girls. 

Dorothy's Birthday. For nine boys and eight girls. 

The Lost Children. For seven boys, five girls and chorus. 

A DREAM OF MOTHER GOOSE 

By J. C. Marchant, S. J. Mayhew, Harriette Wilbur 
and others 

Containing: " A Dream of Mother Goose," "Scenes From Mother 
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excellent and varied collection of simple entertainments from Mother 
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Price, 2^ cents 



New Plays 



MR. EASYMAN'S NIECE 

A Farcical Comedy in Four Acts 

By Belie Marshall Locke 

Six males, four females. Costumes modern ; scenery, two interiors and 
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Price, 2§ cents 

CHARACTERS 

Mr. Stephen Easyman, a wealthy Mr. Sharpe, a detective, 

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Mr. Carew Carlton, his nephew. au7it. 

Mr. Tom Ashleigh. Mrs. Easyman, | her 

Jackson, a servant. Miss Bessie Carrolt,, J nieces, 

Michael Flynn, Desdemona, the ghost. 

A PAIR OF BURGLARS 

By Byron P. Glenn 

Two males, two females. One act. Costumes modern ; scenery, an 
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Price, i^ cents 



DANE'S DRESS-SUIT CASE 

By Robert C. V. Meyers 



Two males, one female. One act. Costumes modern ; scene, an easy 
interior. Plays fifteen minutes. An excellent short play to fill out a biU 
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and well-dressed. 

Pricf, IS cents 



\ 






THE MAGISTRATE ^^^'^^ *° Three Acts. Twelve males, four 
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THE NOTORIOUS MRS. EBBSMITR J^^f"^^ \^ J°y ^f « 

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THE SECOND MRS. TANQUERAY ^^Y ^°/«^^ ^«f ^f"' 

^ males, five females. Cos- 

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SWEET LAVENDER ^°™®*^y ^^ Three Acts. Seven males, four 
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modern. Plays a full evening. 

THF TIMFS C<"^®<^y ^*^ Four Acts. Six males, seven females. 
Scene, a single interior; costumes, modern. Plays a 
full evening. 

THF WFAKFR SFX ^'^^^'^y >° Three Acts. Eight males, eight 
females. Costumes, modern ; scenery, two 
interiors. Plays a full evening. 

A WIFE wiTBouT A SMILE ^r,!L:,^:!:/s...i^.: 

modern ; scene, a single interior. Plays a full evening. 



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LIBRARY OF CONGRESS 



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AS YOIl I llfF IT Comedy in Five Acts. Thirteen males, four 
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CAIHII T F I^rama in Five Acts. Nine males,^ five females. CoS' 



tumes, modern ; scenery, varied. Plays a full evening. 

Play in Five Acts. Thirteen males, three females. 
Scenery varied ; costumes, Greek. Plays a full evening. 



IWARY STUART Tragedy in Five Acts. Thirteen .males, four fe- 
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THE MERCHANT OF VENICE ^^l^^^^^ gSS 

ipicturesque ; scenery varied. Plays a full evening. 

RirHFI IFII Play in Five Acts. Fifteen males, two females. Scen- 
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THF RFVAIS Comedy in Five Acts. Nine males, live females. 
lllLf niTAl4>3 Scenery varied; costumes of the period. Plays a 
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TWELFTH NIGHT; OR, WHAT YOU WILL l^'Z^^^.H!, 

three females. Costumes, picturesque ; scenery, varied. Plays a 
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